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To  my  friend  Ernest  Kiver 

Studies  in 
<3Iusica/  graces 

Compiled  by 
ERNEST  FOWLES 

Author  of  "  Studies  in  Part-playing  " 


^rice  5/-  net 


Key  to  the  questions  and 
exercises^  2/- 


WINTHROP  ROGERS,  Ltd. 

Sole  Agents  :   HAIVKE8  ^  SON 
Denman  St.,  London,  W.  i 


PREFACE. 


The  issue  of  this  little  book  is  due  wholly  to  the  desire  to 
place  before  the  stud<^nt  a  ^uide.  sufficiently  concise  and  at  the 
same  time  adequately  comprehensive,  to  the  clearer  under- 
standing of  musical  graces.  The  author  can  present  no  claim 
to  the  merit  of  originality,  either  in  the  sectional  arrangement 
of  the  ornaments  or  in  the  enunciation  of  the  rules  which 
regulate  their  performance.  Such  merit  must  inevitably  accrue  to 
the  writers  of  the  excellent  works  upon  the  subject  already  in 
existence.  Nevertheless,  a  new  feature  —  as  far  as  the  author  is 
aware  —  may  be  discerned  in  the  following  pages.  Each  Section 
is  accompanied  by  a  series  of  questions  and  exercises  upon  the 
matter  immediately  in  hand,  the  latter  being  intended  for  practi- 
cal, as  well  as  for  the  customary  method  of  exemplification.  It 
is  almost  unnecessary  to  reiterate  the  fundamental  fact,  that,  a 
permanent  grasp  of  elementary  principles  depends  upon  the 
means  adopted  in  the  earher  stages  to  test  the  knowledge  of 
the  student.  The  material  hitherto  presented  for  this  purpose 
in  connexion  with  the  particular  subject  of  this  book  has  been 
singularly  wanting  in  breadth  of  aim  and  perspicuity  of  detail. 
Consequently,  the  student,  if  not  led  away  by  the  temptation  to 
g-eneralize,  has  sought  refuge  in  the  study  of  details  of  no  ac- 
count in  modern  music  or  has  been  content  to  use  a  treatise 
as  an  ever-ready  referee  in  just  those  cases  when  knowledge, 
properly  acquired  and  assimilated,  should  have  been  his  only 
guide. 

It  is  evident,  that,  to  be  thorough  and  stimulating,  exempH- 
fication  should  bear  directly  upon  the  practice  of  those  masters 
whose  works  contain  examples  of  indicated  graces.   This  is  the 

Copyright  igo'J,  The  Vincent  Music  Company  Ltd  *  * 


4 


Preface. 


course  here  adopted  and  the  student  who  approaches  the  sub- 
ject in  this  manner  will  not  only  discover  that  constant  exempli- 
fication will  bring-  executive  freedom,  but  that  a  strong  and 
profitable  element  of  interest  will  arise  from  the  attendant  con- 
templation of  ornamentation  as  a  whole.  The  source  of  the 
musical  grace,  its  development  and  its  ultimate  absorption  in 
the  later  phases  of  melodic  figuration  will  be  observed  in  a  new 
light  and  another  influence  be  added  to  those  which  make  for 
intelligent  musicianship. 

It  is  often  urged  as  a  reason  against  the  detailed  study  of 
ornamentation,  that  the  excellent  annotation  frequently  to  be 
found  in  modern  editions  renders  such  study  inoperative  and 
that,  in  consequence,  the  student  might  be  more  profitably 
engaged  in  other  and  possibly  more  fruitful  directions.  This 
can  scarcely  be  reg-arded  as  a  convincing  reason  for  omitting 
.a  study  which  brings  the  student  into  closer  touch  with  the 
atmosphere  of  Bach.  Indeed,  nothing  can  be  considered  as 
lying  outside  the  sphere  of  minute  investigation  which,  in 
however  small  a  degree,  elucidates  and  illuminates  the  work  of 
that  divinest  of  masters.  It  is  true  that  we  have  travelled  far 
since  his  day;  that  music  has  taken  to  itself  a  new  measure  of 
significance;  that,  in  brief,  the  early  promise  of  an  individual 
life  and  language  —  at  once  forcibly  intellectual  and  fervidly 
emotional  —  has  been  more  than  fulfilled  by  the  latest  phases 
of  the  art.  These  felicitous  results  of  a  natural  evolution, 
however,  but  cast  increased  lustre  upon  the  name  and  work  of 
Bach.  His  inimitable  and  directly  personal  style,  the  prophetic 
nature  of  his  harmonic  colourings  and  —  regarded  from  the 
point  of  view  immediately  concerned  —  the  delicacy  and  figura- 
tive significance  of  his  embellishments  must,  to  the  cultured 
musician,  for  ever  remain  a  subject  of  earnest  and  reverent 
study. 

The  glossary  has  been  added  for  the  sake  of  those  who, 
perceiving  the  historic  bearing  and  aesthetic  significance  of  the 
divisions  runs  and  trills  of  an  earlier  day,  desire  to  know  more 
of  the  nature  of  the  influence  such  forms  of  melodic  movement 
have  exerted  upon  the  development  of  music.    In  enquiry  of 


Preface. 


5 


this  kind,  the  possession  of  a  handy  compendium  of  terms  — 
simply  explained  and  adequately  illustrated  —  will  prove  of  no 
small  assistance. 

A  more  utilitarian  argument  for  the  detailed  study  of 
musical  graces  may  be  advanced  in  the  minute  attention  bestowed 
upon  them  in  the  examination  papers  of  to-day.  That  the 
exercises  given  in  this  book  may  be  of  service  to  the  student 
in  the  necessary  task  of  preparation,  and  that  the  text  through- 
out may  prove  at  once  easy  of  comprehension  and  suggestively 
illuminative  is  the  earnest  hope  of  the  writer. 

iu6.  Palace  Road,  Tulse  Hill,  London.  SW. 
taster  1 9^)7 » 


CONTENTS. 


page 

Preliminary  ,   y 

Section  L    The  Appoggfiatura  and  the  Acciaccatura  ....  12 

Questions  and  Exercises  on  Section  I  o...  26 

Section  11.    The  Turn  ,  ,   3^ 

Questions  and  Exercises  on  Section  11   51 

Section  111.    The  Shake   6^ 

Questions  and  Exercises  on  Section  111   82 

Section  IV.    The  Upper  and  Lower  Mordent,  the  Double 
Mordent  and  the  Slide  

Questions  and  Exercises  on  Section  IV  loi 

Section  V.    The  Nachschlag,  etc  105 

Questions  and  Exercises  on  Section  V  112 

Section  VI.    Combined  Graces  114 

Exercises  on  Section  VI  118 

Section  Vll.    Graces  in  Vocal  Music   121 

Questions  and  Exercises  on  Section  Vll  132 

Glossary  of  terms  bearing  upon   the   subject   of  Musical 

Ornamentation  .  .  .  134 


I 


P  Preliminary. 

The  term  Grace  (Fr.  agrement.  ornement.  Ger.  Manier.  It.  fiori- 
tura.  abbellimento.)  —  as  employed  in  connexion  with  music  —  is 
obviously  capable  of  extensive  application.  For  instance,  it  may  be 
justly  apphed  to  any  device  which  elaborates  the  harmonic  framework 
of  a  musical  progression;  or,  to  the  aesthetic  principles  which  govern 
performance  generally.  In  a  more  restricted  sense,  however,  the 
words  —  embellishment,  ornament  or  grace  are  concerned  with  the 
decorative  treatment  of  the  sounds  of  a  melody. 

A  musical  grace  may  therefore  be  defined  as  a  sound  or  a 
series  of  sounds  —  essential  or  not  to  the  prevailing  harmony  — 
the  occurrence  of  which  disturbs  the  rhythmic  regularity  of  a  melody 
primarily  and  necessarily  formed  upon  the  even  beats  of  time.  The 
following  passage,  for  example,  is  entirely  devoid  of  such  ornamen- 
tation. 


— « 

 9  

We  may  proceed  to  embellish  this  melody  in  diverse  ways. 


8 


Preliminary. 


In  (A),  the  melodic  outline  is,  in  three  instances,  temporarily 
displaced  by  a  sound  foreign  to  the  inferred  harmony.  In  (B),  an 
auxiliary  sound  occurs  immediately  before  three  of  the  original  sounds. 
In  (C),  the  time-value  of  every  other  sound  is  filled  by  a  grace  formed 
by  the  main  melodic  sound  and  the  auxiliary  sounds  above  and  below. 
In  (D),  an  ornament  is  introduced  which  delays  the  time-position  of 
each  sound  concerned.  (E)  is  the  exact  converse  of  (D).  In  (F), 
the  melody  is  variously  ornamented. 

The  graces  illustrated  by  the  above  examples  are  all  familiar  to 
modern  ears.   Many  of  the  older  graces  —  particularly  those  anterior 
to  the  time  of  Johann  Sebastian  Bach  —  were  of  a  much  more  florid 
character.    But,  the  gradual  advance  in  melodic  flexibility  —  ever 
a  distinctive  feature  of  musical  development  —  eventually  annulled 
the  original  purpose  for  which  such  ornaments  were  designed.  The 
large  number  introduced  into  the  earHest  instrumental  music  practically 
accomplished  the  same  purpose  as  the  florid  figuration  which  connects 
the  accented  sounds  of  a  modern  melody.    The  origin  of  musical 
embellishments  may  therefore  be  traced,  in  the  first  place,  to  the 
desire  of  earlier  composers  and  performers  to  invest  their  simple 
diatonic  melodies  with  figurative  charm.    At  a  time  when  the  rela- 
tionship of  sounds,  the  resources  of  harmony  and  the  possibilities 
of  rhythmic  expression  were  but  imperfectly  realized,  such  ornamen- 
tation was  indispensable  to  an  effective  presentation  of  music.   It  was 
a  natural  consequence  of  the  inadequate  notation  of  the  period,  that 
the  indication  of  embellishments  was  often  vague  in  the  extreme; 
further,  that,  in  the  course  of  time,  the  method  of  their  execution 
became  a  matter  of  induction  rather  than  of  traditional  rule.   In  many 
cases  indeed,  the  introduction  of  graces,  though  enjoined,  was  left  to  the 
skill  and  taste  of  the  performer.    From  at  least  one  point  of  view, 
this  is  much  to  be  regretted.   But,  the  development  of  the  rhythmic 
element  gradually  rendered  the  older  graces  purposeless  and  the 
sifting  process  went  on  until  the  days  of  J.  S.  Bach,  from  the  work 
of  which  master  our  survey  of  musical  ornamentation  commences. 
It  does  not  lie  within  the  scope  of  this  treatise  to  trace  the  gradual 
elimination  of  graces  which  newer  forms  of  thought  combined  to 
render  meaningless;  nor,  on  the  other  hand,  to  describe  the  birth  of 
compensating  factors  brought  into  existence  by  the  natural  evolution 
of  the  art.    Let  it  suffice  to  say,  that.  Bach  set  the  seal  of  his 
approval  upon  many  of  the  ornaments  extant  in  his  day  and,  that, 
it  is  from  a  careful  study  of  his  music  that  the  modern  student  may 
most  conveniently  and  logically  start  his  investigations. 

Graces  hold  a  more  clearly  defined  position  in  the  music  of 
Bach  than  that  previously  assigned  to  them.  From  being  but  little 
more  ^  than  a  species  of  local  embellishment  or  a  ready  means  of 
cohesion  between  one  sound  and  another,  they  become  possessed  of 


Preliminary. 


direct  melodic  if  not  of  harmonic  significance;  from  occupying  a 
subordinate  position  in  the  expression  of  a  musical  thought,  they  ad- 
vance towards  their  future  position  as  an  integral  part  of  the  con- 
ception of  the  composer;  from  being  largely  subject  to  the  whimsi- 
calities of  the  performer,  they  possess  a  concrete  meaning  and  require 
to  be  executed  in  a  definite  manner. 

Nevertheless,  it  must  not  be  presumed  that  Bach's  selection  of 
graces  fixed  an  unalterable  standard  of  ornamental  usage.  It  is  true 
that  many  of  his  embellishments  still  form  the  ultimate  model  for 
their  performance  in  modern  music.  But,  the  general  decline  in  the 
use  of  ornaments  —  in  the  sense  here  understood  —  which  has 
continued  almost  without  intermission  from  the  time  of  the  master, 
has  served  but  to  differentiate  the  graces  which  he  employed  from 
their  modernized  form  in  the  music  of  later  writers. 

Many  causes  have  contributed  to  the  gradual  decline  in  the  use 
of  indicated  graces.  That  most  frequently  alluded-to  —  the  difference 
in  sustaining  power  between  the  pianoforte  and  its  precursors,  the 
clavichord  and  harpsichord,  and  the  resultant  necessity  for  filling  up 
the  gap  between  sounds  written  for  the  latter  instruments  —  is  so 
obvious  that  it  may  pass  without  further  remark,  A  moie  pregnant  cause 
is  to  be  found  in  the  development  of  music  itself.  It  is  only  necessary 
to  recall  the  discovery  of  pure  monody  and  of  the  true  functions  of 
rhythm,  together  with  the  result  of  the  general  application  to  musical 
thought  of  the  principles  involved.  These  influences  ultimately  led 
composers  to  perceive,  that,  the  greater  freedom  thereby  assured  to 
melodic  progression,  enabled  them  to  invest  their  melodies  with  more 
interest  and  significance  than  was  afforded  by  the  liberal  employment 
of  the  old  graces.  It  is  true  that  many  of  these  lived  on.  But  they 
were  presented  in  a  new  light  and  those  only  were  retained  which 
blended  effectively  with  the  more  elastic  atmosphere  of  the  newer 
form  of  musical  expression. 

A  third  cause,  and  perhaps  the  most  suggestive,  is  discoverable 
in  the  development  of  the  element  of  style.  This  influence  has 
worked  silently  from  the  very  cradle  of  the  art  towards  the  gradual 
elimination  of  all  elements  which  retard  development  and  arrest  pro- 
gress. We  have  seen  it  at  work  in  the  case  of  Bach,  whose  careful 
selection  of  ornaments  was  the  outcome  of  his  desire,  that,  those 
which  were  appropriate  and  which  served  to  enhance  the  end  in 
view  should  alone  be  introduced  into  his  music.  The  same  silent 
influence  may  be  observed  in  the  work  of  every  great  stylist  since 
the  days  of  Bach.  In  the  purely  decorative  period  which  succeeded 
to  that  of  the  master,  the  influence  of  his  selection  still,  to  a  large 
extent,  controlled  not  only  the  actual  graces  employed  but  also  their 
significance  in  melodic  progression.  But,  as  style  progressed  from 
the  decorative  towards  the  emotional,  the  number  of  grace-signs  - 


10 


ir*rel]rninary. 


as  the  indication  of  standard  ornaments  —  became  considerably  less. 
It  was  not  because  melody  had  become  less  flexible  but  rather  be- 
cause, on  the  contrary,  its  elasticity  had  increased  to  so  great  a 
degree  that  it  no  longer  depended  upon  artificial  additions  for  its 
full  effect.  In  other  words,  every  sound  claimed  its  share  in  the 
significance  of  a  melodic  progression  and  those  sounds  which  heretofore 
were  deemed  to  possess  but  a  decorative  and  inessential  connexion 
with  melody,  were  now  ranked  as  essential  and  characteristic  units 
without  which  melody,  in  the  modern  sense,  could  not  exist  at  all. 

To  apprehend  more  fully  the  subject  of  ornamentation,  it  should 
be  approached  from  more  than  one  point  of  view  and  notably  from 
that  of  the  composer.  Bach's  employment  of  graces,  for  example, 
is  peculiarly  his  own  and  the  manner  of  their  execution  is  laid  down 
upon  clear  if  not  strict  lines.  In  Mozart,  on  the  contrary,  some 
experience  and  discrimination  is  necessary  for  their  clear  apprehension 
and  performance.  In  Chopin,  again,  we  observe  the  influence  of 
the  older  and  stricter  atmosphere.  And  this  divergence  in  practice 
is  more  or  less  characteristic  of  all  great  writers  whose  works 
contain  examples  of  indicated  ornamentation. 

It  would  therefore  appear,  that,  the  study  of  ornamentation 
should  be  entered  upon  in  chronological  fashion. (i)  Nevertheless, 
it  is  possible  to  formulate  rules  applicable,  in  a  general  sense,  to 
ornamentation  from  the  period  above  referred-to  down  to  modern 
times.  This  has  been  attempted  in  the  following  pages  and,  in  view 
of  greater  simplicity  and  brevity,  no  rules  have  been  introduced  but 
those  generally  capable  of  this  comprehensive  application. 

We  have  said  that  the  graces  employed  by  Bach  are  susceptible 
of  a  definite  interpretation.  This  may  perhaps  be  also  observed 
of  the  ornamentation  peculiar  to  the  writers  who  immediately  suc- 
ceeded him.  But,  we  art  confronted  with  the  difficulty,  that,  in  most 
modern  editions  —  and,  it  may  be  added,  those  most  generally  used 
by  students  —  modern  indications  of  ornamentation  have  been  largely 
substituted  for  the  original  signs.  The  suppression  of  the  latter  is 
due  to  the  fact  that  many  of  them  have  become  obsolete.  The 
natural  result  is  a  confusion  between  older  methods  of  embellishment 
and  those  of  more  modern  times.  It  is  true  that  some  of  Bach's 
ornaments,  however  effective  they  may  have  been  upon  the  instru- 
ments for  which  they  were  written,  are  not  capable  of  equally  effec- 
tive interpretation  upon  the  modern  Pianoforte.  In  view  of  this  fact, 
a  certain  amount  of  expurgation  was  inevitable.  But  many  signs 
have  been  suppressed  without  the  merest  shadow  of  necessity  and,  in 
consequence,  the  modern  student  frequently  confuses  those  substituted 


(I)  Tliis  has  been  done  in  a  masterly  manner  by  the  late  Mr  Dannreuther  in 
his  deeply  interesting  work  —  "Musical  Ornamentation".    2  Vols.    (Novello  &  Co.) 


Preliminary. 


in  their  place  with  identical  symbols  employed  by  later  writers  under 
entirely  different  conditions.  It  therefore  behoves  the  scholarly  per- 
former to  exercise  a  wise  discrimination  in  this  matter  and^  even 
when  the  execution  of  a  grace  is  modified,  to  know  perfectly  the 
difference  between  the  original  form  and  its  modern  rendering. 

Lastly,  although  the  study  of  ornamentation,  as  a  whole,  demands 
a  broader  field  of  enquiry  than  that  afforded  by  the  enunciation  of 
general  rules,  the  observant  student  must  remember  that  the  older 
graces,  having  fulfilled  their  mission,  have  practically  ceased  to  exist. 
Nevertheless,  to  them  can  be  traced  the  source  of  the  present  freedom 
in  melodic  movement,  the  use  of  sounds  auxiliary  to  the  main  sounds 
of  a  melody,  the  introduction  of  discords  which  temporarily  dislodge 
a  harmonic  sound,  together  with  all  other  expedients  of  a  like  nature 
which  make  for  figurative  charm  and  variety. 

The  question  therefore  arises  —  If  the  older  ornaments  have 
become  merged  in  the  rhythmic  expression  of  music,  what  place 
remains  for  their  segregation  as  a  distinct  element  in  modern  music? 
There  is  but  one  answer  to  this  question.  In  modern  music,  a  few 
of  the  graces  are  retained  and  recognized  as  standard  ornaments 
because  of  their  extreme  adaptability  to  musical  thought  of  every 
form.  It  is  undeniable,  that,  the  technical  terms  applied  to  some  of 
these  would  have  fallen  into  desuetude  had  it  been  the  practice  of 
the  earlier  modern  writers  to  have  expressed  them  in  exact  notation. 
The  ornaments,  however,  would  have  remained  and  it  is  not  too 
much  to  say,  that,  such  as  have  survived  through  all  the  changing 
phases  of  musical  expression,  are  as  important  in  their  musical 
significance  as  they  are  interesting  in  their  bearing  upon  the  tech- 
nical history  of  music. 

The  graces  recognized  as  such  in  modern  music  are  as  follows  — 
the  Appoggiatura,  the  Acciaccatura,  the  Turn,  the  Shake,  the  Upper 
Mordent,  the  Lower  Mordent,  the  Slide  and  the  Nachschlag  all  of 
which  are  considered  separately  in  the  following  Sections. 


12 


Sec.  L   The  Appogg-iatura. 


SECTION  I. 


The  Appoggiatura  and  the  Acciaccatura. 


I.  The  Appoggiatura  (Fr.  appogiature.  Ger.  Vorschlag.)  is  an 
important  grace  of  frequent  occurrence  both  in  older  and  in  modern 
music.  The  derivation  of  the  word  affords  a  clue  to  its  musical 
.significance.  It  comes  from  the  It.  appoggiare  =  to  support,  to  lean 
upon.  The  appoggiatura  displaces  the  principal  sound,  i.  e.  the 
sound  before  which  it  occurs,  and  therefore  postpones  its  appearance. 
Being  in  a  stronger  accentual  position  than  the  principal  sound  and, 
moreover,  being  usually  discordant  with  the  prevailing  harmony,  the 
appoggiatura  momentarily  creates  the  feeling  of  unrest  peculiar  to 
discords  and,  during  the  brief  space  elapsing  between  its  percussion 
and  resolution,  may  be  said  to  rest  or  lean  upon  the  accompanying 
harmony.  This  will  be  clearly  perceived  if  the  following  progression 
be  played  with  and  without  the  grace  in  question. 

A.    .  B.  ,  I 

Ex.  I    '  - 


2.  In  modern  music,  the  appoggiatura  is  generally  expressed 
in  exact  notation.    (Ex.  2.  Vide  asterisk.) 


Adagio. 


Beethoven.    Sonata  Op.  22.  2°^  mov. 
-f: 


■SL±1t   ±±±   ±   ±  ± 


3.  It  was  the  custom,  formerly,  to  indicate  the  appoggiatura 
by  a  small  untimed  note,  the  denomination  of  which  varied  with  the 
habit  of  the  particular  writer.(i)   Vide  Ex.  3.    This  notation  was  the 


(I)  The  custom  survives  in  modern  music,  though  in  a  much  more  restricted  ibrui. 


Sec.  I.    The  Appogg-iatura. 


13 


outcome  of  the  discordance  invariably  associated  with  the  ornament 
and  dates  from  the  time  when  the  elaboration  of  melodies  by  sounds, 
discordant  with  the  prevailing  harmony,  was  accompanied  by  uncertain 
theory  and  timorous  practice. 


Haydn.    Sonata  in  G.     i^t  mov. 


Ex.  3. 


n  ri  fi  r 


4.  An  alternative  indication  of  the  appoggiatura  was  current  in 
the  time  of  Bach.  A  short  curve,  upwards  or  downwards,  represented 
the  ornament  respectively  below  or  above  the  principal  sound.  The 
curve  was  given  variously  in  single  or  in  double  form.  (Ex.  4.)  In 
modern  editions  of  the  works  of  Bach,  the  small  note  described  in 
par.  3  is  usually  substituted  for  these  signs,  as  well  as  for  other 
symbolic  indications  of  the  kind  pecuhar  to  still  older  writers. 

Bach.    Three-part  Invention  in 

5.  The  time -value  of  the  appoggiatura  is  taken  from  that  of 
the  principal  sound,  whether  the  ornament  occur  alone,  the  harmony 
following  with  its  resolution  (Ex.  5),  or  whether  it  displace  one  of 
the  sounds  of  a  chord  (Ex.  6).  The  appoggiatura  therefore  stands 
in  the  accentual  position,  the  principal  sound  being  necessarily  non- 
accented. 

Mozart.    Sonata  in  B]?-     ist  mov, 
8  .  8  


Ibid.    Sonata  in  EV-    i^t  mov. 

J.  J5  i  J: 


14 


Sec.  1.     The  Appogfglatura. 


6.  The  correct  time -execution  of  appoggiature  depends  upon 
a  variety  of  conditions  —  harmonic ,  melodic,  rhythmic  and  the 
hke  —  as  well  as  upon  the  tempo,  style  ^nd  period  of  the  work 
into  which  they  are  introduced.  The  following  rules  from  the 
"Versuch  iiber  die  wahre  Art  das  Klavier  zu  spielen"  by  Carl  Philipp 
Emanuel  Bach  (17 14 — 1788)  are  usually  quoted  as  standard  prin- 
ciples. 

A.  When  the  appogfjiatura  occurs  before  a  whole  note,  the  latter  is 
halved,  the  grace-7iote  and  irrincipal-note  taking  the  respective  halves.  Ex.  7. 


Ex  7.  "^dB: 


Mozart.     Sonata  in  Bp-     ist  mov. 


J. 


B.  When  the  appoggiafura  occurs  before  a  dotted,  note,  it  takes 
livo-thirds  from  the  value  of  the  principal-note.  Ex.  8. 


Haydn.    Sonata  in  D.     ist  mov. 


Ex.  8 


p  »  p 


>  0  0 


C.  JVhen  the  appoggiatura  occurs  before  a  note  tied  to  a  shorter 
note,  it  takes  the  entire  value  of  the  first  note.   Ex.  9. 


Ex.  9. 


M2h 


Leopold  Mozart.  (Violinschulc) 


7.  As  the  above  examples  prove,  it  is  possible  to  demonstrate 
the  application  of  these  rules.  Nevertheless,  they  do  not  afford  an 
absolute  guide  to  correct  performance.  It  is  obvious,  that,  since  the 
appoggiatura  forms  a  part  of  the  time -grouping  or  figurative  outline 
of  a  melody,  the  two  sounds  concerned  must  always  be  introduced 
with  a  due  regard  to  this  fact  or,  in  other  words,  with  melodic  and 
rhythmic  propriety.  This  will  become  more  evident  if  we  cull  a 
few  illuminating  examples  from  he  works  of  classic  masters  in 
which  the  ornament  appears  in  exact  notation. 


Sec.  I.    The  Appoggiatura. 


15 


8.  Ex.  10  (A)  contains  examples  of  the  simple  execution  de- 
scribed in  Rule  A.  par.  6.  These  could  have  been  represented  as  in 
(B)  with  similar  significance.  Examples  such  as  these  are  of  very 
general  occurrence  in  music  of  every  style. 


Mozart.    Sonata  in  A,     i^t  mov. 


9.  Ex.  II  (A),  on  the  contrary,  contains  appoggiature  in  which 
the  ornament  takes,  in  each  case,  three  parts  of  the  value  of  the  two 
sounds  concerned.  Here  we  observe  the  influence  of  the  melodic 
figuration  of  the  passage  of  which  the  bar  quoted  is  a  fragment. 
The  rhythmic  outline  of  the  whole  is  given  in  (B).  The  character- 
istic feature  of  each  rhythm  is  the  succession  of  a  dotted  note  and 
a  note  of  the  value  of  the  dot.  This  feature  is  necessarily  preserved 
whether  a  dotted  note  be  an  appoggiatura  or  not. 


Haydn.    Sonata  in  D.     ist  mov. 


10.  Ex.  12  is  the  exact  converse  of  Ex.  11,  the  appoggiature 
receiving  but  a  quarter  of  the  value  of  the  principal  sound.  The 
piquancy  thus  assured  to  the  ornaments  enables  them  to  make  an 
effective  contrast  to  the  motives  immediately  before.    For  another 


le 


Sec.  T.    The  Appog-gfiatura. 


reason,  Clementi  abbreviates  the  appoggiature  in  Ex.  13.  The  bare 
effect  which  would  have  ensued,  had  the  principal  sounds  been  in- 
troduced at  the  same  moment  as  their  octave  sounds  in  the  accom- 
paniment, is  thereby  avoided. 

Mozart.    Sonata  in  C.     I't  mov. 


Ex.  u. 


I 


't  ^dji  xiis  til!  an  tM 


Ex.  13. 


V 


BE?! 


II.  Ex.  14  (A)  illustrates  the  application  of  Rule  B.  par.  6. 
The  appoggiatura  could  be  represented  as  in  (B). 


A. 


♦  5 


Haydn.    Sonata  in  A.    2"^  mov. 

B.  I    ^  I 


-  "3. 


T 


In  a  corresponding  place  of  the  same  work,  the  composer  reverses 
the  value  of  the  respective  sounds,  giving  the  two -thirds  to  the  prin- 
cipal sound.  (Ex.  15.)  This  rendering  is  very  general.  (Exs.  16  and  17.) 

Haydn.    Sonata  in  £\>'  mov. 


Ex.  15. 


Ex.  I 


Mozart.    Sonata  in  B  \f-    2°d  mov. 


7.  feS3=~l^: 


ZS  I'll       L.  ■■L.  I    I  I  I  I    I  11  I  CZ 


Sec.  1.    The  Appogfg-iatura, 


17 


12.  The  rendering  illustrated  by  Exs.  15,  16  and  17  is  often 
necessary  to  ensure  the  harmonic  integrity  of  the  principal  sound. 
Thus,  the  prolongation  of  the  appoggiatura  in  Ex.  18  would  prevent 
the  clear  definition  of  the  chord  in  which  the  ornament  occurs. 

Mozart.    Sonata  in  B^.    2°d  mov. 


Ex.  18. 


13.  Ex.  19  exemplifies  the  application  of  Rule  C.  par.  6.  The 
appoggiatura  could  also  be  indicated  as  in  (B). 


Mozart.    Sonata  in  G.    3rd  mov. 


Ilx.  19. 


14.  Rule  C.  par.  6  is  open  to  many  exceptions.  The  appoggia- 
ture  in  the  2nd  and  3rd  whole  bars  of  Ex.  20,  for  instance,  are 
resolved  at  the  distance  of  a  crotchet  in  order  to  conform  to  the 
rhythmic  grouping  of  the  passage. 

Mozart.    Sonata  in  £\^-    l^t  mov. 


Ex.  20. 


15.  A  careful  examination  of  the  above  examples  will  have 
shown,  that,  the  employment  of  an  appoggiatura  is  associated  with 
a  large  amount  of  freedom    and   it  will  be  reasonably  supposed, 

^''"^iK  Fowles    StudicvS  in  Musical  Graces.  3 


18 


Sec.  I.    The  Appog-giatura. 


that,  this  freedom  must  be  conceded  in  the  case  of  those  appoggia- 
tiire  which  appear  in  mitimed  form.  To  a  certain  extent,  this  is  so. 
Nevertheless,  the  student  must  grasp  the  fact  that  the  appoggiatura 
is  required  to  be  executed  as  an  exactly -timed  sound,  i.  e.  the 
two  sounds,  the  appoggiatura  and  the  principal  or  harmonic  sound, 
ought  to  synchronize  with  the  subdivisions  of  the  beat  in  which  they 
occur.  Latitude  of  treatment  is  not  coincident  with  a  lax  and  indefinite 
method  of  execution,  but  extends  only  to  the  question  as  to  which 
is  the  correct  time-position  of  the  principal  sound,  that  of  the  orna- 
ment being  assured  by  its  position  in  the  notation.  The  examples 
already  given  will  prove  of  help  to' the  doubtful  executant.  A  few 
points  for  further  demonstration  may,  however,  here  be  added. 

1 6.  The  rendering  illustrated  by  Ex.  21  is  often  applied  to 
appoggiature  which  decorate  sounds  separated  by  the  interval  of  a  third. 


Modem  0. 


Ex.  21.  9'-?= 


Haydn.  Sonata  in  A"!?. 
I  St  muv. 


17.  The  execution  of  the  appoggiature  given  in  Ex.  22  is  often 
necessary  when  the  motives  of  a  rhythm  require  specially  distinct 
demarcation. 

Mozart.    Sonata  in  F.    2"^  mov. 


"1  r 


18.  An  appoggiatura  upon  a  comparatively  long  accented 
sound,  particularly  if  approached  by  a  passage  of  shorter  sounds, 
is  generally  abbreviated.  Not  infrequently,  it  approximates  to  the 
value  of  the  previous  sounds.    (Ex.  23.) 

Mozart.     Sonata  in  B9-  mov. 
Andante.  -■  ,  ■-  -x 


Sec.  1.    The  Acciaccatura.  ig 

19.  When  the  appoggiatura  appears  alone,  its  resolution  usually 
takes  place  with  the  first  pulsation  of  the  iiarmony.    (Ex.  •34.) 


Mozart.    Sonata  in  B\}-     ist  mov. 


20.  Care  must  be  taken  to  discriminate  between  the  appoggia- 
ture  found  in  the  music  of  Bach  and  those  employed  by  later  writers. 
The  appoggiatura  of  Bach,  in  the  vast  majority  of  instances,  is  short 
and  the  rules  hitherto  given  in  no  way  apply.  Thus,  the  appoggia- 
ture  in  the  5  th  three-part  Invention  take  but  a  quarter  of  the  value 
of  their  principal  sounds.  In  some  cases,  the  ornament  appears 
alone,  the  principal  sound  following  with  the  first  pulsation  of  the 
accompanying  harmony.    Two  bars  are  here  quoted. 


21.  An  extremely  short  appoggiatura  is  known  in  modern 
terminology  as  the  Accmcca^ura.{i)  (Fr.  appogiature  breve.  Ger.  kurzer 
Vorschlag.)  The  word  is  derived  from  the  It.  aca'accare  =  to  pound, 
to  crush.  The  grace  is  therefore  sometimes  called  the  '^crushing- 
note'"  in  allusion  to  the  suddenness  and  crushing-like  effect  produced 
by  its  execution.    Like  the  appoggiatura  proper,  it  is  indicated  by 


(i)  N.  B.  The  pronunciation  of  ilkis  word  is  important.  The  second  c  takes 
the  form  of  Ch  in  Child.  The  i  is  like  6,  though  very  short.  The  fourth  c  is  pro- 
nounced like  the  English  k.  Each  a  is  broad  as  in  arm.  The  following  is  an  attempt 
at  a  phonetic  rendering  — 

d(t)chea(t)katura. 

It  must  be  particularly  observed  that  the  letters  in  brackets  are  not  articulated. 
They  may  be  compared  to  those  letters  in  French  words  which ,  though  virtually 
silent,  are  nevertheless  present  in  the  mind  and  therefore  influence  the  pronunciation 
of  the  speaker. 

2* 


20 


;bec.  I.    The  Acciaccatura. 


a  small  untimed  note,  but  is  differentiated  from  the  former  by  an 
oblique  stroke  drawn  through  the  stem  and  hook.(i)    (Ex.  26.) 

Allegro.  Beethoven.    Sonata.   Op.  79.     1*^  mo  v. 


Ex. 


22.  The  word  acciaccatura  is  the  modern  resuscitation  of  a 
term  formerly  descriptive  of  an  ornament  peculiar  to  keyboard  in- 
struments and  of  somewhat  kindred  style.  The  two  sounds  of  the 
old  acciaccatura  occurred  together,  the  auxiliary  sound  being  imme- 
diately raised  and  the  principal  sound  retained.  Bach  employed  the 
acciaccatura  against  one  of  the  sounds  of  a  chord,  the  latter  being 
played  in  arpeggiando  fashion.  An  interesting  example  occurs  in  the 
''Scherzo"  of  the  3rd  Partita  (Ex.  27.  A)  which  Dannreuther  (Musical 
Ornamentation.  Pt.  I.  p.  188)  solves  as  in  (B)  and  happily  designates 
''a  veritable  scrunch". 


Presto. 


Ex.  27. 


23.  Owing  to  the  rapidity  with  which  the  acciaccatura  is  played, 
its  time-value  is  necessarily  very  minute.  But  the  value,  however  short, 
must  always  be  taken  from  that  of  the  principal  sound.  Ex.  28  (A) 
is  an  approximation  of  the  execution  required  for  the  acciaccature  in 
Ex.  26.  The  rendering  given  in  (B)  is  entirely  wrong,  the  value  of 
the  ornament  being  taken  in  each  case  from  the  previous  sound. 
A. 


i 


ri- 


Ex.  2? 


3  5..  F  v..  5 


(I)  "This  transverse  stroke  is  probably  an  imitation  of  the  stroke  across  the 
note  in  the  (now  obsolete)  acciaccatura."  Franklin  Taylor  in  Grove's  Dictionary 
Vol.  I.  p.  77.     For  this  stroke,  vide  Ex.  27, 


Sec.  1.    The  Appogg-iatura  and  the  Acciaccatura.  21 

24.  The  acciaccatura  is  frequently  called  the  ''short  appoggia- 
tura**  in  contradistinction  to  the  true  or  long  appoggiatura.  The 
adoption  of  the  term  acciaccatura,  however,  has  this  advantage,  that 
it  helps  to  differentiate  two  ornaments  which,  though  derived  from 
an  identical  source,  represent  two  extremes  in  musical  effect  of 
the  kind. 

25.  The  points  of  difference  between  the  appoggiatura  and  the 
acciaccatura  may  be  summed-up  as  follows.  — 

A.  The  appoggiatura,  if  not  represented  in  exact  notation,  is 
indicated  by  a  small  note,  the  species  of  which  varies  with  the  time- 
conditions  of  its  execution  as  well  as  with  the  individual  practice 
of  the  composer.  The  acciaccatura,  on  the  other  hand,  is  represented 
by  a  small  quaver (i)  with  the  distinguishing  obHque  stroke. 

B.  The  appoggiatura  is  comparatively  long,  taking,  as  we  have 
seen,  one  half  or  two-thirds  and  occasionally  even  more  of  the 
value  of  the  principal  sound.  The  acciaccatura,  on  the  contrary, 
is  always  an  extremely  short  sound  and  takes  as  litde  as  possible 
of  the  value  of  the  principal  sound. 

C.  In  the  appoggiatura,  the  accent  falls  upon  the  grace.  In  the 
acciaccatura,  the  principal  sound  receives  the  accent. 

D.  The  appoggiatura,  frequently  influences  the  expressive  signif- 
icance of  the  melody  which  it  embeUishes.  It  is  distinctly  a  melodic 
sound  and,  as  a  discord,  ''leans  upon"  the  harmony  and  carries  the 
mind  easily  forward  to  its  sound  of  resolution.  The  acciaccatura  is 
more  often  employed  to  give  a  special  emphasis  to  the  principal 
sound  and  can  never  be  strictly  regarded  as  a  melodic  sound.  (Cf. 
the  respective  derivations,  pars,  i  and  21.) 

26.  If  the  respective  methods  of  indicating  these  two  graces 
had  been  universally  adopted  by  composers,  a  source  of  much 
confusion  would  have  been  avoided.  Unfortunately,  however,  the 
small  note  with  the  obhque  stroke  —  an  indication  by  no  means 
modern,  though  essentially  modern  in  its  limitation  to  the  acciacca- 
tura —  has  been  often  employed  to  indicate  the  appoggiatura.  Con- 
versely, the  small  note  without  the  stroke  has  occasionally  been  used 
as  an  indication  of  the  acciaccatura.  We  have  already  seen  that  it 
was  a  frequent  habit  of  composers  to  express  appoggiature  in  exact 
notation.  This  fact  has  been  taken  advantage  of  by  the  editors  of 
modern  annotated  editions  and,  by  careful  collation  and  comparison, 
the  intention  of  the  composer  has  been  approximately  demonstrated. 
The  following  aids  to  the  clearer  comprehension  of  this  matter  are 
somewhat  modified  by  the  fact,  that,  local  conditions  —  harmonic, 
melodic,  and  the  like  —  often  tend  to  break  the  force  of  rules 
necessarily  formed  upon  general  grounds. 


(1)  Occasionally,  by  a  small  semiquaver.  Vide  Exercise  26.  C.  of  this  Section. 


22        Sec.  1.    The  Appoggiatura  and  the  Acciaccatura. 


27.  We  must  first  recall  the  essential  difference  between  the 
appoggiatura  and  the  acciaccatura  outlined  in  (D.)  par.  25.  A  just 
appreciation  of  this  difference  will  prove  of  more  service  than  the 
enumeration  of  necessarily  inadequate  rules.  The  following  fragments 
from  the  same  movement  (Sonata  in  D.  Haydn)  afford  an  excellent 
illustration  of  this  fact.  The  comparative  breadth  of  the  melodic 
outline  of  (A)  obviously  requires  the  incorporation  of  the  ornaments 
into  the  rhythmic  texture.  Consequently,  they  are  examples  of  the 
true  appoggiatura.  The  vivacious  charm  of  (B),  on  the  contrary, 
demands  that  the  rhythmic  outline  indicated  by  the  quavers  should 
not  be  broken  by  an  undue  shortening  of  their  value.  They  are 
accordingly  played  as  acciaccature. 


Moderato. 


i.  II  n.  n  H  ^^  -N.  n 


Ex.  29.  g^:e-^-^-^  


ICj' 

Method  of  performance. 


m- 


^  •  p 


B. 


f 


— ^  J- 


28.  Acciaccature  are  usually  associated  with  sounds  which 
require  a  particular  emphasis.  Such  often  occur  at  the  commence- 
ment of  a  passage  (Ex.  30),  though  by  no  means  invariably  so. 

Mozart.   Sonata  in  C.  i^t  mo  v. 


Sec,  1.    The  Appogg-Iatura  and  the  Arciaccatura.  2i, 

29.  The  grace-note  prefixed  to  a  succession  of  notes  at  the 
same  pitch  (Ex.  31);  to  detached  (Ex.  32)  or  staccato  notes  (Ex.  33I; 
to  a  series  of  notes  separated  by  disjunct  intervals  (Ex.  34)  is  almost 
invariably  an  acciaccatura, 

Mozart.    Sonata  in  C.    2"d  mov. 


Ex.  31. 


.1  I  I 


Kx.  32-  feiBziz  


Ibid.    Sonata  in  C.     i^t  mov. 


Ibid.  Sonata  in  C.  mov. 


H  


Ibid.   Sonata  in  C    ist  mov. 


Ex. 


30.  When  the  grace-note  is  separated  from  the  principal  note 
by  an  interval  larger  than  a  2"^,  an  acciaccatura  is  usually  intended. 
(Ex.  35.)   This  is  invariable  when  the  interval  is  an  octave.   (Ex.  36.) 

Mozart.    Sonata  in  i^.     3rd  mov. 


Ex.  35. 


Ibid.    Sonata  in  C.    3rd  mov. 


24        Sec.  I.    The  Appog-giatura  and  the  Acciaccatiira. 


31.  When  the  grace-note  appears  before  a  group  of  short  but 
equal  sounds  (Ex.  37)  or  before  the  equal  subdivisions  of  a  time- 
beat  (Ex.  38),  it  is  always  an  acciaccatura. 

Haydn.    Sonata  in  F.    2nd  niov. 


Ex.  37. 


Ex.  38. 


-4 


Ibid.    Sonata  in  G.    2nd  mo  v. 


P 


32.  If  the  grace -note  occur  before  a  very  short  note,  it  is 
necessarily  an  acciaccatura.   (Ex.  39.) 


Allegro. 


Mozart.    Sonata  in  C,         mo  v. 
3 


oi- 
easier 


H'^" '  I 


33.  When  the  execution  of  a  grace -note  as  an  appoggiatura 
would  destroy  the  symmetry  of  the  rhythmic  outline;  an  acciaccatura 
is  obviously  intended.    (Ex.  40.) 


rhythmic  outline.    -/^J    J     J   J  ,  J_j  J    JT  J-    J     J  JTT^ 


Haydn.    Sonata  in  B\^-    2nd  mov. 


^  1  

Sec.  1.    The  Double  Appoggiatura. 


25 


34  A  grace-note  upon  the  penultimate  harmony  of  a  cadence 
is  most  frequently  an  appoggiatura.  Ex.  41  (A)  illustrates  such  an 
ornament  in  exact  nota-tion;  (B)  with  the  untimed  mdication.  If  the 
final  sound  of  the  cadence  be  anticipated  and  the  grace  be  prefixed 
to  the  note  immediately  before  the  anticipation,  an  acciaccatura  is 
almost  invariably  required  (C). 

Mozart.    Sonata  in  C. 
A.  mov. 


Ex.  41 


Haydn.    Sonata  in  F, 
B.  ist  mov. 


1 — Z  ' 

Field.    Nocturne  in  A. 


C. 


oti  Two  grace-notes,  separated  by  a  3rd  or  larger  interval, 
are  occasionally  prefixed  to  a  note,  their  time-value,  unless  otherwise 
indicated,  being  taken  from  that  of  the  latter  or  principal  note. 
(Ex  42)  This  ornament  is  known  as  the  Doul>/e  Appoggiatura. 
(Fr.*  appogiature  double,  double.    Ger.  Doppelvorschlag.) 

Mozart.    Sonata  in  C.  mov. 
^.   I' 


Ex.  42. 


Allegro. 


36.  The  execution  given  in  the  above  example  is  so  rapid  that 
the  terra  Double  Acciaccatura  would  perhaps  more  aptly  describe  the 


26 


Sec.  I.    The  Double  Appoooi^tura. 


ornament.  In  the  following  examples,  the  composer  indicates  the 
rendenng  of  the  double  appoggiatura  in  the  first  bar  by  the  succeeding 
examples  in  exact  notation. 


Allegro  moderaio. 


Haydn.     Sonata  in  E^-     i  niov. 


37-  When  the  interval  which  separates  the  auxiliary  sounds  is 
larger  than  a  3rd,  the  rendering  should  be  more  leisurely.  (Ex.  44, 
U.  A  and  B.)  The  student  must  here  note  that  the  second  auxiliary 
of  the  double  appoggiatura  is  always  one  degree  removed  from  the 
principal  sound.  When  this  is  not  the  case,  the  ornament  is  generally 
a  broken  chord  and  not  a  double  appoggiatura.    (Ex.  45.) 


C.  P.  E.  Bach. 


A. 


,x.  44 


HP 

J 

Mozart.    Sonata  in  A  (Menuetto). 

Ex.  45.  ^S^-==^^^!===q 


Questions  and  Exercises  on  Section  1. 


1.  Describe  the  nature  of  the  appoggiatura. 

2.  Explain  why  the  first  crotchet  of  the  following  progression  could 
not  be  regarded  as  an  appoggiatura. 


r 


Section  I. 


27 


3.  Mark  the  appoggiature  in  the  following. 


4.  Rewrite  the  above  and  substitute  for  each  appoggiatura  a  small 
untimed  note,  the  value  of  which  must  agree  with  its  inferred 
time-duration. 

5.  What  advantage  may  be  claimed  for  the  modern  method  of 
indicating  the  appoggiatura,  compared  with  that  in  former  use? 

6.  Why  was  the  appoggiatura  originally  written  outside  the  normal 
time-measurement? 

7.  Substitute  the  original  indications  for  the  appoggiature  in  the 
following  passage  from  Bach. 


10. 


II. 


W^hy  may  not  the  appoggiatura  ordinarily  be  played  before  the 
time-position  of  the  harmony  which  it  embellishes? 
Why  is  some  amount  of  executive  latitude  often  inherent  in  the 
nature  of  the  appoggiatura? 

Detail  the  three  rules  referring  to  the  time-distribution  of  ap- 
poggiature and  their  principal  sounds  and  which  are  often  quoted 
as  standard  principles  of  performance.  Why  is  it  impossible 
to  regard  these  rules  as  a  sure  guide? 

Why  would  the  given  solution  of  the  appoggiatura  in  the  fol- 
lowing progression  be  incorrect?   Rewrite  the  passage  correctly. 


m 


t  ^ 


 ^ 

rrr 


28 


Section  I. 


12.   Why  is  the  appoggiatura  now  invariably  written  in  exact  notation? 
J  3.   Name  the  broad  difference  between  the  appoggiatura  of  Bach 
and  that  of  later  writers. 

14.  Why  is  the  term  —  short  appoggiatura  —  more  exact  than  ac- 
ciaccatura?  Why  is  it  better,  nevertheless,  to  use  the  latter  term? 

15.  What  is  the  essential  difference  between  the  old  acciaccatura 
and  the  modern  ornament  of  the  same  name? 

16.  Give  —  in  detail  and  in  your  own  language  —  the  four  points 
of  difference  between  the  appoggiatura  and  acciaccatura. 

17.  Why  is  it  frequently  difficult  to  distinguish  the  appoggiatura 
from  the  acciaccatura  in  the  music  of  the  earlier  modern  com- 
posers? 

18.  Give  —  from  memory  —  the  occasions  when,  in  the  music 
alluded  to  in  the  last  question,  it  may  be  reasonably  supposed 
that  an  acciaccatura  is  intended. 

19.  What  difference  is  often  observed  between  the  appoggiatura 
and  acciaccatura  when  the  ornaments  respectively  occupy  a 
cadential  position? 

20.  What  distinguishes  the  double  appoggiatura  from  other  orna- 
ments consisting  also  of  three  sounds? 

21.  What  has  been  suggested  as  the  derivation  of  the  oblique  stroke 
in  the  modern  acciaccatura? 

22.  Why  is  it  essential  that  the  true  appoggiatura  should  be  dis- 
cordant with  the  prevailing  harmony? 

23.  Express,  in  exact  notation,  the  following  appoggiature  from  Bach. 
(N.  B.  The  student  should  also  be  prepared  to  exemplify  these 
and  the  following  exercises  by  actual  performance  upon  the 
Pianoforte.) 


A.    Andante.  B.  Adagio. 


C.    Allegro.  D.  Andante. 

I 


Section  1. 


2Q 


E.  Andante, 

F.  Adagio. 


— ■  r:  ^  ^ 


G.  Allegro. 


1^ 


H.  Andante. 


Handel. 


r-  r  T  r 


24.  Express,  in  exact  notation,  the  following  untimed  ornaments, 
tal^en  in  each  case  from  the  works  of  Haydn. 


A.    Allegro  moderato. 


moderato.  | 


B.  Moderato. 


30 


Section  L 


C.  Andante. 


iff 


1^3  ^3  k*^3 


0 


D.  Larghetto. 


^  \  I    ^  s  I   ^  s*  •  •   


>rB 


1^ 


Iff 


E.  Adagio. 


F.  Presto. 


G.  Allegro. 


H.  Andante. 


25.  Reproduce,  in  exact  notation,  the  following  passages  from  the 
works  of  Mozart. 


A.  Allegro. 


Section  1. 


B.  Allegro. 


C.  Andante. 


i»  *  1^^^^ — »=-- 


tlilfT  LtflL/  r 


D.  Allegro. 


r 


\r?> 


E.  Adagi 


J^^zzT^  ^  '^^  : 


F.  Andanle, 


G.  Andante, 


32 


Section  I. 


H.  Andante, 


^struts 


r  T 


1 


I.  Allegro. 


26.  Give,  in  exact  notation,  the  solution  of  the  following  ornaments 
from  Beethoven. 


i 


A.  Allegro. 


i.      ^5    I  J.      F=55  I 


f  f 


r  r 


B.  Allegretto. 


C.  Adagio. 


D.  Presto. 


E.  Allegretto. 


F.  Allegro. 

t^rn-^  f'r-V-i    ^J-T~^'  ^i^^^ 


I 


Sec.  II.    The  Turn. 


27.  Indicate,  when  possible,  the  appoggiature  and  acciaccatare  of 
the  following  passage  by  small,  untimed  notes. 


SECTION  11. 

The  Turn. 

1.  The  Tiirn  —  Yx.  groupe.  Ger.  Doppelschlag.  It.  gruppetto  — 

is  essentially  the  graceful  ornament.  It  is  indicated  by  the  symbol  cc 
and  comprises  two  varieties,  viz.  —  the  turn  oi  four  sounds  and  the 
turn  of  five  sounds. 

2.  The  turn  of  four  sounds  is  formed  by  the  consecutive  occur- 
rence of  (A)  a  sound  one  degree  above  that  indicated  by  the  prin- 
cipal or  written  note,  (B)  the  principal  sound,  (C)  a  sound  one  degree 
below  the  latter  and  (D)  the  repetition  of  the  principal  sound.  (Ex.  i .) 
The  turn  of  five  sounds  commences  with  the  principal  sound,  but  is 
otherwise  precisely  similar  to  the  turn  of  four  sounds.  (Ex.  2.) 


Ex.  I. 


f 


Ex.  2. 


9i 


3.  Two  auxiliary  sounds  therefore  participate  in  the  formation 
of  the  turn.  These  are  respectively  called  the  upper  auxiliary  and 
lower  auxiliary.  To  this  fact  can  be  traced  the  origin  of  the  German 
term  —  Doppelschlag  =  (lit.)  double-beat. 

Ernest  Fowles,  Studies  in  Musical  Graces.  .  3 


6Jt 


Sec.  n.    The  Turn.    Pitch-formation  of  — 


4.  Either  auxihary,  or  both,  may  be  chromatically  altered  by 
accidentals.  These  are  placed  above  or  below  the  symbol.  In  the 
former  case,  the  accidental  refers  to  the  upper  auxiliary;  in  the  latter 
case,  to  the  lower  auxiliary. 

5.  By  the  application  of  chromatic  alteration,  the  turn  becomes 
susceptible  of  four  varieties. 

A.  The  upper  auxiliary  at  a  semitone;  the  lower  auxiliary  at 
a  tone.  Ex.  3  (A). 

B.  The  upper  auxiliary  at  a  tone;  the  lower  auxiliary  at  a  semi- 
tone. Ex.  3  (B). 

C.  Both  auxiliaries  at  a  tone.  Ex.  3  (C). 

D.  Both  auxiliaries  at  a  semitone.  Ex.  3  (D). 

(A)  and  (B)  are  the  most  usual  forms  and  are  called  Diatonic  Twns. 
(C)  is  sometimes  necessary  in  older  music  but,  when  required  in 
modern  music,  is  invariably  written  out  in  full.  (D)  is  called  the 
CJironiatic  Turn  and  is  rarer  than  the  diatonic  turns. 


A.  I' 


Ex.  3. 


15. 


0=6 


D. 


CS3 


6.  Chromatic  alterations  are  often  omitted  by  the  composer. 
Consequently,  it  is  necessary  that  the  executant  should  clearly  per- 
ceive when  and  why  the}^  are  required. 

7.  The  pitch  of  the  upper  auxiliary  is  uniform^  that  of  the 
degree  of  the  diatonic  scale  next  above  the  principal  sound.  Thus, 
the  upper  auxiliary  of  Ex.  4  (A)  will  be  B  b ;  that  of  (B)  will  be  F  ^ ; 
that  of  (C),  E  k 

A.  B.  C. 

CS5  CNS  CNT 


8.  The  pitch  of  the  lower  auxiliary  is  less  clearly  defined.  In 
music  of  the  time  and  in  the  style  of  Bach,  it  is  necessary  to  iden- 
tify the  sounds  of  the  turn  with  those  of  the  key.    Thus,  the 


Sec.  II.    The  Turn.    Pitch-formation  of  — 


35 


auxiliaries  of  the  following  turns  will  correspond  in  pitch  with  the 
diatonic  degrees  of  the  respective  keys. 

Ibid. 


Kx.  5. 


Bach. 


Ibid. 


9.  The  auxiliaries  of  the  above  turns  are,  in  each  case,  at  the 
distance  of  a  tone  from  the  principal  sound.  Cf  Ex.  3  (Cj.  This 
species  of  turn,  though  perfectly  in  harmony  with  the  music  of  Bach 
and  of  kindred  writers,  is  not  effective  in  music  of  a  more  modem 
type.  The  development  of  chromaticism  has  brought  the  semitone 
into  greater  prominence,  as  an  important  if  not  indispensable  feature 
in  melodic  progressions  of  the  kind.  Hence,  to  modern  ears,  the 
most  perfectly  proportioned  form  of  turn  is  that  which  contains  one 
semitone.  Cf  Ex.  3  (A)  and  (B).  Of  such  turns,  the  major  scale, 
unaided  by  chromxatic  inflections,  yields  four,  viz.  —  those  upon  the 
i^S  3^^f   4^^  7^^  degrees.    The  turns  upon  the  remaining  de- 

grees are,  in  their  strictly  diatonic  form,  similar  to  those  quoted 
above  from  Bach,  i.  e.  their  auxiliaries  are,  in  each  case,  separated 
from  the  principal  sound  by  the  interval  of  a  tone.    (Ex.  6.) 


2nd 


1  St  yd  Ath. 


6th 


0—^ 


7th  degrees 


10.  It  is  evident,  that,  the  turns  upon  the  2nd^  5th  and 
6th  degrees,  diatonically  considered,  do  not  fulfil  the  requirements 
of  the  modern  turn.  Since  it  is  necessary  to  preserve  the  diatonic 
pitch  of  the  upper  auxiliary  (par.  7),  the  requisite  alteration  is  made 
in  the  lower  auxihary.  Consequently,  in  these  three  instances,  the 
latter  sound  is  raised  a  semitone.  Hence  arises  the  rule,  that  the 
pitch-formation  of  a  turn  is  governed  by  the  size  of  the  interval  be- 
tween the  principal  sound  and  the  upper  auxiliary.  When  this  interval 

6* 


36 


Sec.  11.    The  Turn.    Pitch-formation  of  — 


is  a  semitone,  the  lower  auxihary  is  diatonic;  when  it  is  a  tone,  the 
lower  auxiliary  is,  if  necessary,  chromatically  raised  to  form  the 
counterbalancing  semitone.  Ex.  6  may  now  be  given  in  amended 
form.    (Ex.  7.) 


Ti.  A  few  examples  will  more  clearly  demonstrate  this  point. 
Exs.  8  and  9  contain  turns  upon  the  mediant  and  leading-note  respect- 
ively. Since,  in  both  cases,  the  upper  auxihary  is  at  the  distance 
of  a  semitone  from  the  principal  sound,  no  chromatic  alteration  of 
the  lower  auxiliary  is  necessary.    On  the  other  hand,  Exs.  10  and  11 


Beethoven.    Sonata  Op.  2  No.  I.     2"^  mov. 


contain  turns  upon  the  supertonic  and  dominant  respectively.  Since, 
in  both  cases,  the  upper  auxiliary  is  at  the  distance  of  a  tone  from 
the  principal  sound,  the  lower  auxiliary  is  chromatically  raised  to 
form  the  necessary  semitone. 


Beethoven.    Sonata  Op.  2  No.  i.    2nd  mov. 

CN3 


Beethoven.    Sonata  Op.  2  No.  3.     2nd  mov. 


Fix.  1 1. 


A     t  t^t-t- 


t  f  f  firf  ^ 


Sec.  II.    The  Turn.    Pitch-formation  of  — 


37 


12.  Upon  a  review  of  the  construction  of  turns  upon  the  de- 
grees of  the  minor  scale,  we  find  that  those  upon  the  first  3  degrees, 
together  with  that  upon  the  5th,  entirely  accord  with  the  recognized 
form  of  the  modern  turn.  The  auxiliaries  of  the  turn  upon  the 
4th  degree,  on  the  contrary,  are  both  at  the  distance  of  a  tone  from 
the  principal  sound,  while  the  turns  upon  the  6th  and  7th  degrees 
contain  an  interval  of  3  semitones  and  are  clearly  impracticable  in 
tha<-  particular  form. 


I  St 


2nd 


Ex 


6th 


mm 


7-th  degrees. 


13.  The  semitone  below  the  principal  sound  blencJ^*  more  per- 
fectly with  the  minor  mode  than  the  tone.  It  is  therefore .  often  in- 
troduced even  when  the  upper  auxiliary  is  also  but  a  semitone  re- 
moved from  the  principal  sound.  Cf  Ex.  3  (D).  The  turn  upon  the 
dominant  is  almost  invariably  thus  played.  In  Ex.  13,  the  master 
has  written  the  ornament  in  exact  notation. 

Beethoven.    Sonata  Op.  lOi.    3rd  mov. 


Ex.  13. 


14.  The  turn  upon  the  supertonic  is  also  frequently,  though 
by  no  means  invariably,  played  in  chromatic  form.  If,  however,  the 
principal  sound  be  immediately  followed  by  the  tonic  or  if  the  tonic 
be  especially  prominent,  either  in  the  accompanying  or  in  the  con- 
textual harmony,  the  diatonic  form  is  usually  employed.    (Ex.  14.) 


Beethoven.    Sonata  Op.  2  No.  2.    2nd  mov. 


38 


Sec.  II.    The  Turn.    PiLch-loriiiaiion  of  — 


15.  The  augmented  in  the  turn  upon  the  6tli  degree  is 
ehuiiiiated  by  the  melodic  employment  of  the  minor  7th  as  the  upper 
auxiliary  (Ex.  15);  that  in  the  turn  upon  the  yi'^  degree,  by  the 
employment,  also  melodic,  of  the  major  as  the  lower  auxiliary 
(Ex.  16).  In  the  latter  case,  a  tone  is  invariably  observed  between 
the  principal  sound  and  lower  auxiliary. 


Ex.  16. 


Beethoven.     Sonata  Op.  2  No.  2.     2^^  mov. 

»  ,  


i6.  The  semitone  below  the  principal  sound  is  observed  in 
all  cases,  major  or  minor,  in  which  a  continuous  succession  of  turns 
occurs  upon  consecutive  degrees  of  the  scale.    (^Ex.  17.) 


Schubert.     Impromptu  Op.  142  No.  I, 


Ex.  17. 


1 

g  p  ^ 

9 

17.  Turns  upon  chromatic  sounds  are  exceptional  and  not 
amenable  to  strict  rule.  The  composer  usually  conve3^s  his  meaning 
by  clearty  indicating  the  pitch  of  each  auxiliary.    (Ex.  18.) 


Beethoven.     Sonata  Op.  2 


1  lU 


It  :St  :Sl  ^   ^         -it  ^ 

uw  f  r  r  tU 


Sec.  II.    The  Turn  upon  undotted  notes. 


3'^ 


18.  Such  are  the  general  rules  which  influence  the  pitch-for- 
mation of  turns.  Modifications  necessarily  ari.se  under  exceptional 
conditions,  but  these  are  generally  indicated  by  the  composer. 
One  point  we  must  however  add.  Since  the  pitch  of  the  auxiliaries 
depends  upon  the  tonality  of  the  passage  in  which  a  turn  occurs, 
it  is  evident,  that  every  change  of  key  in  the  course  of  a  move- 
ment must,  to  this  end,  be  carefully  remarked  by  the  executant. 
For  instance,  the  following  progression  from  a  movement  in  E  t>, 
modulates  at  this  particular  point  to  Ck  The  auxiliaries  of  the 
turn  will  therefore  fall  into  line  with  the  latter  key,  whether  their 
exact  pitch  be  indicated  by  accidentals  or  not. 

Schubert.    Sonata  in         Op.  122.    4th  mov. 


Ex.  19. 


19.  The  time  occupied  in  the  execution  of  a  turn  is  almost 
invariably  taken  from  that  of  the  principal  sound,  (i)  When  it  is 
desired  that  the  turn  should  precede  the  time-position^  of  the  sound 
indicated  by  the  written  note,  the  ornament  is  written  out  in  full.  (Ex.  20.) 

Mozart.    Sonata  in  B'?-     3rd  mo  v. 


Ex  20. 


20.  The  turn  is  also  frequently  expressed  in  exact  notation 
when  the  execution  of  the  ornament  is  entirely  normal.  The  turns 
in  Ex  21  (A)  could  be  represented  as  in  (B)  with  a  precisely  similar 


result. 


Haydn    Variations  in  Fxam. 


Ex.  21 


A. 


(O  An  exception  occurs  when,  for  thematic  reasons,  it  is  necessary  to  preserve 
exactly  the  time-position  of  the  principal  sound.    Cf.  Exercise  23.  H.  in  this  Section. 


Sec.  II.    The  Turn  upon  undotted  notes. 


21.  When  the  turn  is  placed  over  a  whole  note  of  short  or 
of  comparatively  short  value,  the  sounds  of  the  ornament  follow  one 
another  rapidly,  commencing  with  the  upper  auxiliary  and  con- 
temporaneously with  the  time-position  of  the  written  or  principal  note. 
The  turn  finishes  before  the  expiration  of  the  principal  sound  which 
is  then  held  for  the  full  completion  of  its  value.  The  portion  of 
the  principal  sound  which  remains  after  the  execution  of  the  turn 
is  necessarily  proportioned  to  the  tempo  of  the  passage  in  which 
the  ornament  occurs.  (Cf.  Exs.  22  and  23.)   The  turn  may,  however, 


occur  upon  a  sound  so  short  that  the  execution  of  the  former 
occupies  the  entire  time-value  of  the  latter.   (Ex.  24.) 

Allegretto.  Haydn.    Sonata  in      min.  mov. 


22.  When  the  turn  is  placed  after,  i.  e.  to  the  right  of  a  whole 
note,  the  rendering  is  the  exact  converse  of  that  described  in  par.  21. 


Sec.  II.    The  Turn  upon  undotted  notes. 


41 


The  principal  sound  is  held  for  the  greater  part  of  its  value  and  the 
turn  is  so  played,  that,  the  last  sound  of  the  ornament  occurs  exactly 
at  the  expiration  of  the  time-value  of  the  written  note.  In  the  vast 
majority  of  instances,  this  species  of  turn  is  applied  to  sounds  of 
long  or  of  comparatively  long  value.  It  can  be  illustrated  by  Ex.  25 
(A),  in  which  the  ornament  appears  in  exact  notation.  The  notation 
given  in  (B)  would  lead  to  a  precisely  similar  result.  Exs.  26  and 
27  exemplify  such  turns  indicated  in  the  customary  manner. 


Allegro  molto. 


Mozart.    Sonata  in  C"  min.    I*^*^  mov. 


Ex.  25. 


i 


Largo.         Beethoven.    Sonata  Op.  7.    2nd  mov. 

3 


Ex.  26. 


Ex.  27. 


Prestissimo.        Beethoven.    Sonata  Op.  2  No.  i.    4^^  moY. 


23.  When  the  principal  sound  of  a  turn  upon  a  whole  note  is 
followed  by  a  sound  of  the  same  pitch,  the  latter  becomes  the  final 
sound  of  the  turn.    (Ex.  28.) 

Beethoven.  Sonata  (VioHn)  Op.  12  No.  i.  i^t  mov. 


Allegro  con  br 


Ex.  28. 

I 


I 


S3: 


24.  When  the  principal  sound  of  a  turn  is  preceded  by  a  sound 
indicated  by  a  whole  note  at  the  same  pitch,  the  turn  is  played  in 
the  time  of  the  latter,  provided  that  the  last  sound  fall  in  the  time- 
position  of  the  principal  sound  and,  also,  that  the  length  of  the 
anticipatory  sound  be  sufficient  to  permit  of  the  execution  of  the 
ornament  (Ex.  29).  The  length  of  the  anticipatory  sound  in  Ex.  30 
is  insufficient  to  allow  of  the  introduction  of  the  turn  before  the  time- 


42 


Sec.  11.    The  Turn  upon  undotted  notes. 


position  of  the  principal  sound.  It  is  therefore  pla^^ed  in  accordance 
with  the  previous  rules. 


Beethoven.    Sonata  Op.  2  No.  I.  2"^ 


Ex.  29. 


^^^^^ 


Allegretto. 


Haydn.    Sonata  in  6^  min.  2^*^ 


Ex.  30 


25.  The  turn  in  Ex.  31  also  exemplifies  the  rule  given  in  par.  24. 
It  is  played  as  though  the  previous  staccato  sound  were  an  unde- 
tached  crotchet. 

Haydn.    Sonata  in  E\>  (Finale). 


Ex.  31 


26.  Should  the  anticipatory  sound  be  prolonged  by  the  dot, 
the  rule  just  given  is  not  observed.  (Ex.  32.)  If,  however,  the  dotted 
note  form  a  complete  time-beat  or  a  series  of  complete  beats,  it  is 
treated  as  a  whole  note  and  the  rule  is  strictly  followed.    (Ex.  33.) 


Ex.  32. 


Ex.  33. 


Haydn.    Sonata  in  E\>-  2nd  mov. 


Allegro. 


27.  When  a  turn  is  placed  over  the  second  of  two  notes 
connected  by  the  tie(i),  the  turn  is  so  played  that  the  last  sound  of 


(I)  Tlie  rule  is  inoperative  if  the  tied  note  be  dotted.  The  rules  relating  to 
turns  upon  dotted  notes  then  come  into  force. 


Sec.  11.    The  Turn  upon  dotted  notes. 


43 


the  ornament  falls  in  the  time-position  of  the  tied  note.  The  length 
of  the  previous  sound  in  Ex.  34,  on  the  other  hand,  does  not  permit 
of  the  execution  of  the  turn  before  the  time-position  of  the  tied  note. 
The  turn  therefore  comes  immediately  after  the  latter. 

Allegro  moderaio,        Schubert.    Sonata  Op.  122.    4th  mov. 


28.  A  turn  frequently  occurs  upon  a  dotted  note.  When  the 
note  forms  a  complete  time -beat  (Ex.  35)  or  a  series  of  complete 
beats  (Ex.  36),  the  presence  of  the  dot  does  not  influence  the  turn, 
the  execution  of  which  is  then  subject  to  the  rules  for  turns  upon 
whole  notes. 


Ex.  35- 


I 


Allegro. 


Beethoven.    Sonata  Op.  49  No.  i.  2 


nd 


-8— #^ 


Ex.  36.  g 


Allegro  molto. 

,   


Beethoven.   Sonata  Op.  I o  No.  I.    i^t  mov. 


29.  When  a  turn  is  applied  to  a  dotted  note  which  does  not 
coincide  with  a  time-beat  or  series  of  time-beats,  the  execution  of  the 
ornament  is  altogether  different.  If,  for  example,  a  dotted  note  of  this 
kind  be  followed  by  a  note  of  the  same  value  as  the  dot,  a  slight 
pause  is  made  upon  the  principal  sound  and  the  last  sound  of  the 
turn  which  immediately  follows  falls  in  the  place  of  the  dot.   (Ex.  37.) 

Beethoven.    Sonata  Op.  14  No.  i.     i^t  mov. 
Allegro.  I   ^   I 

30.  Slight  departures  from  the  above  rule  are  sometimes  im- 
perative. Thus,  its  strict  application  to  Ex.  38  (A)  would  result  in 
a  violent  rhythmic  movement  entirely  at  variance  with  the  rest  of 


Ex  37. 


44  Sec.  11.    The  Turn  upon  dotted  notes. 

the  passage  in  which  it  occurs  (B).  The  free  rendering  given  in  (C) 
possibly  indicates  the  original  intention  of  the  composer. 


Adagio. 
A. 


Beethoven.     Sonata  Op.  2  No.  I.     2nd  mov. 


3T.  In  the  somewhat  rare  cases  where  the  following  sound  is 
of  the  same  pitch  as  the  principal  sound  of  the  turn,  the  ornament 
IS  usually  played  in  the  time  of  the  former,  irrespective  of  the  position 
of  the  symbol,  i.  e.  whether  it  be  placed  between  the  dotted  note  and 
the  folio wmg  note  or  over  the  latter.    (Ex.  39.) 

Adci<;io.  Haydn.    Sonata  in  Eb-    2nd  mov. 


 =  ^  hzfczzjr 


32.  The  rule  given  in  par.  29  is  also  observed  when  two  dots 
are  annexed  to  the  principal  note  and  the  latter  is  followed  by  a 
note  of  the  same  value  as  the  2nd  dot.  The  last  sound  of  the  turn 
tails  m  the  time-position  of  the  first  dot. 


Mozart.     Sonata  in  C  min. 

Adasio. 


3 


33  If  the  dotted  note  which  bears  a  turn  be  followed  by  two 
or  more  notes  of  the  same  value,  collectively,  as  the  dot,  the  turn 
IS  played  as  though  the  principal  sound  were  represented  by  a  whole 
note.  A  preparatory  pause  is  made  upon  the  principal  sound  and 
the  last  sound  of  the  turn  comes  exactly  at  the  expiration  of  the 


Soc.  II.    The  Turn  upon  dotted  notes. 


45 


latter.  Consequently,  the  turn  is  amalgamated  with  the  subdivided 
sounds  which  immediately  follow.    (Ex.  41.) 

Beethoven.     Sonata  O;).  3'   No.  2.  n)ov. 


34.  The  rule  given  in  par.  33  is  all  but  universally  observed. 
Instances  however  occur  when,  owing  to  the  brevity  of  the  princi- 
pal sound,  to  rapidity  of  tempo  or  to  other  causes,  it  is  impossible 
either  to  make  the  preparatory  pause  or  to  give  the  correct  time- 
quantity  to  the  ornament.  Thus,  the  solution  of  Ex.  42  (A)  given 
in  (B)  is  almost  impracticable  at  the  tempo  required;  that  in  (C) 
omhs  the  preparatory  pause  and  alters  the  value  of  the  sounds 
immediately  following.  Since  in  this  particular  case,  the  sounds  of 
the  beat  form  a  prominent  figure  of  the  movement  (Haydn  Sonata  in 
G.  I  St  mov.)  some  executants  would  more  wisely  endeavour  to 
preserve  its  outward  form  by  treating  the  turn  as  an  ornament  of 
emphasis  upon  the  principal  sound  (Dj.  This  would  have  the  advantage 
of  retaining  the  generic  similitude  of  the  figure  to  those  in  the  same 
movement  which  contain  no  example  of  the  turn. 


A.    Allegro  con  brio.  B. 


35.  Some  writers  hold  that  attention  should  be  directed  to  the 
position  of  the  symbol  in  turns  such  as  the  one  just  described; 
that,  if  the  symbol  be  exactly  over  the  written  note,  the  executant 
should  follow  the  rule  for  turns  upon  short  v/hole  notes  (par.  21); 
but  if,  on  the  contrary,  it  be  placed  after  the  written  note,  the  execu- 
tion should  be  according  to  the  strict  rule  which  governs  turns  upon 
dotted  notes,  (pars.  28  et  seq)  Unfortunately,  the  general  practice 
of  composers  does  not  help  us  to  formulate  a  definite  rule  upon  this 
point.    For  instance,  the  turns  upon  the  dotted  notes  in  Beethoven's 


40 


Sec.  II.    The  Turn.    Untimed  indications  of  — 


Sonata  Op.  lo  No.  3  (2ntl  mov.)  require  the  normal  execution  of 
turns  in  such  a  position.  Nevertheless,  the  symbols  are  in  each 
case  placed  exactly  over  the  written  note.  On  the  other  hand,  the 
solution  of  Ex.  43  offers  no  difficulty.  The  turn  is  manifestly  intended 
to  be  played  in  the  manner  given.  In  all  such  cases  —  as  in  many 
others  connected  with  the  subject  of  musical  ornamentation  —  ex- 
perience and  good  taste  are  the  only  reliable  passports  to  an  accurate 
conception  of  the  composer's  intention. 


« 

Haydn.    Sonata  in  G.    2"^!  mov. 


— N- 

36.  The  turn  is  frequently  indicated  by  small  notes  written 
outside  the  ordinary  time-measurement.  The  indication,  though  oc- 
casionally ambiguous,  must  be  understood  in  the  same  manner  as 
when  the  customary  symbol  is  employed.  A  distinction  is  generally 
observed  in  the  number  of  untimed  notes  used.  Three  such  notes 
usually  indicate  a  turn  upon  or  before  (Vide  par.  24)  the  sound 
indicated  by  the  written  note  while  four  indicate  its  execution  after 
the  time-position  of  the  written  note.  The  former  is  illustrated  in 
Exs.  44  and  45;  the  latter  in  Ex.  46  et  seq. 


A  /a Ho. 


Beethoven.     Sonata  Op.  13. 


Ex.  44 


Andante. 


Mozart.    Sonata  in  ^b-  2nd 


Ex.  46. 


Adagio. 


Mozart.    Sonata  in  F.     2"d  inov. 

^3^ 


Adagio.  Beethoven.    Sonata  Op.  22.    2nd  mov. 

5- 


37-  Heretofore,  the  examples  have  consisted  wholly  of  turns 
of  4  sounds.  It  is  true,  that,  in  those  cases  where  the  principal 
sound  has  first  occurred,  a  turn  of  5  sounds  has  been  the  virtual 
result.  This  sound,  however,  has  not  actually  formed  a  part  of  the 
ornament  at  the  moment  of  its  execution.  The  true  turn  of  5  sounds 
requires  the  latter  to  proceed  uniformly  in  equal  time-value.  This 
type  of  turn  is  more  common  in  modern  music  and  more  satis- 
factory to  modern  ears.  In  present-day  performance  and  under  cer- 
tain conditions,  it  is  usual  therefore  to  introduce  the  turn  of  5  sounds 
irrespective  of  the  style  or  period  of  the  passage  involved.  Thus, 


( I )  The  execution  given  of  the  first  turn  appears  to  contradict  the  rule  referred 
to  in  par.  29.  It  is  certain  however  that  the  rhythmic  symmetry  of  the  two  bars 
entails  a  corresponding  symmetry  in  the  case  of  the  two  turns.  We  may  therefore 
conckide  that  the  notation  of  the  turn  in  question  is  inaccurate  and  that  it  should 
have  been  as  follows  — 


48 


Sec.  11.    The  Turn  of  five  sounds. 


if  the  turn  be  apphed  to  ornament  a  sound  belonging  to  a  figurt 
previously  heard,  the  principal  sound  will  occur  first.    (Ex.  49.) 


Allegretto, 


Ex.  40. 


Mozart.    Sonata  in  B)}-  3^1 


— 

38.  Similarly,  if  the  turn  be  applied  to  a  sound  of  special 
melodic  significance,  the  principal  sound  is  heard  first     (Ex.  50.) 


Ex.  50. 


Beethoven.    Sonata  Op.  10  No.  1.    2nd  mov. 


Adagio  molto. 


k       1/        ^  ^ 


39.  Anterior  to  the  period  of  Beethoven,  a  turn  such  as  the 
above  was  generally  indicated  by  the  symbol  for  the  shake  (Ex.  51). 
Vide  Sec.  III.  par.  2. 


Allegro. 


Mozart.    Sonata  in  C.    3rd  mov. 


40.  The  divergence  between  modern  and  pre-modern  practice, 
in  respect  to  the  starting  sound  of  the  turn,  cannot  be  more  appositely 
exemplified  than  by  the  following  passage  from  Mozart.  The  conjunct, 


Sec.  n.    The  Inverted  Turn. 


49 


scale-like  progression  of  the  melody  would  lead  us  to  suppose  that 
the  turn  would  require  the  five -sound  form  as  in  (B).  In  more 
modern  music  and  —  but  for  the  exact  notation  supplied  by  the 
composer  —  by  the  modern  performer,  it  would  be  so  rendered. 


Andante.  Sonata  in  ^b-    2nd  mov. 


41.  Again,  if  the  principal  sound  be  preceded  by  a  sound  one 
degree  above,  the  five -sound  form  is  invariably  observed. 


Tempo  di  Menuetto.  Haydn.    Sonata  in  E.    2°^  mov. 


42.  Lastly,  if  the  principal  sound  be  detached  from  the  pre- 
vious sound  or  be  preceded  by  a  rest,  it  is  now  usual  to  employ 
the  five -sound  turn.  An  exception  occurs  when  the  previous  sound 
is  of  similar  pitch  and  occurs  immediately  before,  in  which  case  the 
four-sound  form  should  be  generally  observed.    (Ex.  54.) 


Andante.  Haydn.    Variations  in  Fmm. 


Ex.  54. 


43.  The  turn  occasionally  appears  in  inverted  form.  The 
Older  of  the  auxiliaries  is  then  reversed,  the  lower  being  played 
first.  In  the  somewhat  rare  cases  where  a  symbol  is  employed,  the 
customary  sign  for  the  turn  is  reversed,  thus  In  the  music  of 
a  few  older  writers  and  editions,  the  symbol  appears  in  vertical 
form,  thus  8.  In  the  great  majority  of  cases,  the  inverted  turn  — 
if  not  expressed  in  exact  notation  —  is  indicated  by  small  notes. 
(Cf.  par.  36.)  The  rules  for  the  performance  of  the  inverted  turn 
differ  in  no  wise  from  those  already  given  in  this  Section.  In 
Ex.  55,  the  turn  is  indicated  to  be  played  without  delay  upon  the 

Ernest  Fowles^  Studies  in  Musical  Graces.  4 


50     Sec.  11.   The  Turn.   Exceptional  forms  and  rendering-s  of  — 


primary  accent  (par.  21);  in  Ex.  56,  it  occurs  upon  short  sounds 
and  also  follows  the  rule  just  referred-to. 


AlU^rretfo. 


F.X.  55. 


Ex 


Mozart.    Sonata  in  C.  mo  v. 

—3 


Andante. 


Beethoven.    Sonata  Op.  49  No.  I.     i^t  mov. 


44.  In  par.  i,  the  turn  was  referred  to  as  the  graceful  orna- 
ment. This  is  a  perfectly  true  description  of  the  turn  in  its  most 
effective  phases.  Nevertheless,  the  intelligent  student  will  have  discerned 
the  fact;  that;  more  especially  in  older  musiC;  it  is  a  frequent  func- 
tion of  the  ornament  to  reinforce  or  emphasize  the  principal  sound. 
This  distinction  should  be  generally  remarked.  When  emphasis 
rather  than  grace  is  necessary;  the  fact  should  be  apparent  in  per- 
formance. When;  on  the  contrary;  grace  is  preeminently  the  feature 
of  the  ornament;  this  also  should  claim  particular  attention  from  the 
executant.  To  the  latter  end;  a  stiff  and  regular  performance  upon 
one  of  the  time-divisions  of  the  bar  should  be  studiously  avoided 
when  the  tempo  permits  of  the  "weighing"  of  each  sound.  The 
execution  of  Kx.  57  (A)  as  given  in  (B)  is  perfectly  correct;  in  (C), 
however;  the  turn  is  transformed  into  a  graceful  succession  of  un- 
accented sounds  and  the  ornament  invested  with  a  peculiarly  artistic 
significance  unattainable  from  the  strict  and  unbending  form  of  (B). 

Andante  con  moto .    Beethoven.   Variations.   "La  stessa,  la  stessissima." 
A.  B.  C.  -^T^ 


1  ^  -r^^     


rr^^-  

45.  Exceptional  forms  of  the  turn  are  occasionally  met  v/itb 
in  the  works  of  the-  classic  masters  as  well  as  in  general  music. 
The  following  passage,  for  instance,  which  has  so  often  proved  a 
stumbling-block  to  the  student  is  usually  misinterpreted  owing  to  the 
mistake  of  an  early  printer,  (i)    It  should  be  rendered  as   in  (B), 


(I)  Vide  "Musical  Ornamentation".    Dannrt-uther.    Vol.11,    p.  1  1 2. 


Section  11. 


51 


conveying  practically  the  same  meaning  as  though  the  first  note  of 
each  group  were  a  dotted  crotchet,  the  last  sound  of  the  turn 
falling  in  the  time-position  of  the  dot.  (Cf.  par.  2g). 


Questions  and  Exercises  on  Section  II. 

1.  What  is  the  difference  between  the  turn  of  4  sounds  and  that 
of  5  sounds? 

2.  Why  is  the  turn  known  as  the  graceful  ornament? 

3.  What  is  meant  by  the  auxiliary  sounds  of  a  turn? 

4.  Are  the  auxiliary  sounds  of  a  turn  concordant  or  discordant  in 
relation  to  the  prevailing  harmony?  Give  the  reason  for  your 
reply. 

5.  Can  you  conceive  conditions  arising  under  which  either  auxiliary 
sound  of  a  turn  could  be  a  sound  of  the  prevailing  harmony? 
If  SO;  give  an  example. 

6.  Write  the  following  turns,  in  each  case  filling  the  value  of  the 
given  sound  with  four  shorter  sounds  of  equal  duration.  Omit 
the  key-signatures  and  place  the  accidentals  against  the  notes 
as  may  be  required. 


A.  b         B.  C.  D.  E.  F. 


7.  Place  the  symbol  above  each  of  the  turns  you  have  just  formed 
and  add  the  accidentals  to  the  symbol,  above  or  below  as  may 
be  required.  Remember  that  the  turns  are  presented  without 
key-signature. 

4* 


52 


Section  Jl. 


8.  Write  —  in  the  same  manner  as  the  above  turns  — 

A.  Chromatic  turns  upon  D  and  B  j^. 

B.  Diatonic  turns,  with  the  semitone  below,  upon  B  and  D  jj. 

C.  Diatonic  turns,  with  the  upper  semitone,  on  E  b  and  G  k 

D.  The  rarer  form  of  diatonic  turn  upon        and  B  bb. 

9.  Which  auxihary  of  a  turn  is  usually  diatonic? 

10.  How  may  the  chromatic  element  be  employed  in  connexion  with 
a  turn  without  necessarily  robbing  the  latter  of  its  diatonic 
character? 

Ti.  Why  is  the  turn  with  both  auxiliaries  at  the  distance  of  a  tone 
not  generally  suitable  to  modern  music? 

12.  Write  the  following  turns  in  modern  form,  each  to  contain 
4  sounds  of  equal  duration.  Use  the  respective  key-signatures 
and  turn-symbols,  indicating  the  chromatic  inflections  when 
necessary. 

A.  Upon  the  tonic  of  B  b  maj. 

B.  „       „    mediant  of  min. 

C.  „       „    leading-note  of  Eb  min. 

D.  „       „    dominant  of  F  maj. 

E.  „       „    dominant  of  G  b  min. 

sub-mediant  of  B  maj. 

G.  „       „    supertonic  of  A  b  maj. 

H.  „       „    sub-mediant  of  B  b  min 
1.     „       „    mediant  of  Ftf  maj. 

13.  In  what  manner  is  the  augmented  2nd  avoided  in  the  turns 
upon  the  6th  and  7th  degrees  of  the  minor  scale? 

I  f.  Give  the  rule  which  generally  influences  the  pitch-formation  of 
a  succession  of  turns  upon  adjoining  degrees  of  the  scale. 

15.  What  is  the  difference  between  the  inverted  turn  and  the  more 
usual  form  of  the  ornament? 

16.  Write  the  following  turns  in  inverted  form,  each  to  consist  of 
4  equal  sounds.  A.  Chromatic  turns  upon  F  ^  and  C  b.  B.  Dia- 
tonic turns  with  the  upper  semitone  upon  D  and  D  b.  C.  Dia- 
tonic turns  with  the  lower  semitone  upon  C  and  C  bb.  D.  Tiie 
rarer  form  of  diatonic  turn  upon  E  ^  and  D  b. 

17.  What  have  you  to  remark  with  regard  to  the  pitch-formation  of 
the  turns  in  the  following  passage? 

18.  Explain,  briefly,  the  difference  of  significance  attached  respectively 
to  the  tvu-n  of  4  sounds  and  to  that  of  5  sounds. 


Section  U. 


j3 


19.  Write  out  the  following  turns  in  full.  Omit  the  key-signatures, 
but  retain  the  symbols  over  their  solutions  in  exact  notation. 
In  those  cases  where  two  solutions  are  possible,  give  both  in 
full.  (N.  B.  In  these  and  the  following  exercises,  the  student 
must  be  prepared,  by  practical  exemplification  at  the  Pianoforte, 
to  illustrate  the  rules  which  govern  the  structure  and  time-dis- 
tribution of  the  ornaments.) 


A..  Andante. 


B.  Allegretto. 

4- 


4 


C.  Vivace. 


CVS    ^  CN5^ 
^  ^' 


D.  Andante. 


E.  Lento. 


CO 

I 

4 


WN3 


C\5 


G.  Moderate. 


OZ>  CO 


F.  Allegretto. 


m  si 


f 


H.  Allegretto. 


I.  Allegretto 

^ 


K.  Allegretto. 


1= 


J.  Allegretto. 


L.  Andante. 

I 


54 


Section  II. 

N.  Adagio. 


O.  Adagio. 

1^  h    r  ; 

I  L 


p.  Allegro. 


-I- 


f 


20.   Reproduce,  in  exact  notation,  the  following  turns  from  the  works 
of  Bach. 


I 


A.  Allegro. 


p   


fiN5   


_    ss?  _ 


B.  Andante. 
I 


C.  Allegretto. 


1=^  h 


g< — gr     n  — ^- 


D.  Andante. 


E.  Allegretto. 

^ 


F.  Andante. 


Section  II. 


55 


CVS 

^       r  r  f 

• — ^ 

rr  r 

rrr 

L. 

21.  Give,  in  exact  notation,  the  rendering  of  the  following  turns 
from  Haydn. 

A.  Allegro. 


B.  Allegro. 


==1  b** — a —  

^ — ^ 

-#- 1  1 

C.    Tempo  di  menuetto 


D.  Adagio. 


E.  Adagio. 


F.  Prestissimo. 

^  '_  c>s 


G.  Moderato, 


3N5 


56 


Section  11. 


H.   Adagio.  — ^ 

n  «  it       u  iTTi 

• 

L — 0  

w 

— "  +r 

— ^  ' 

• — 

m 

mm 

I.  AUegro. 


J.  Moderato. 


K.  Allegretto. 


I 


f 


r 


L.  Andante. 

C\5 


Presto. 


1 

CN5 

-J    

r  i 

N.  Allegro. 


O.   Adagio.  i^-*. 


P         p.  Adagio. 


Section  IT. 


Q,  Adagio. 


R.  Adagio. 


1  a  agio. 


S.    Tempo  di  menuetto. 

J. 


f  ^ 


22.  Give,  in  exact  notation,  the  rendering  of  the  following  ornaments 
from  Mozart. 

A.  Andante. 


.\*^e^' 


B.  Adagio. 


C.  Adagio. 


all  ^— [ir> 


D.  Adagio. 


58 


Sectfoii  II. 


E.  AiiJante. 


-d  1  


L.  Allegro. 


Section  II. 

M.  Adagio. 


59 


-III 

t  ^  tfd 

O.  Allegro. 


N.  Andante. 


f  if 


23.  Reproduce,  in  exact  notation;  the  following  ornaments  from  the 
works  of  Beethoven. 

B,  Adagio. 

A.    Adagio.  I  S  £ 


C.  Adagio. 


D.  Grazioso. 


E.  Grazioso, 


F.  Adagio. 


4 


-J^  i- 


•1  W 


 j_   


G.  Alligro 


6o 


Section  11. 


H.  AHegro. 


1,    Adagio.  cv) 


J.  Moderato. 


i-  1 


K.   Adagio.  ^   ^  <^ 

1— feE 

L  Andante. 


M.  Andante. 


^  u 


3 


N.  Andante. 


O.  Andante. 


24.  Substitute  the  customary  symbol  for  the  exact  notation  of  the 
following  turns,  redistributing  the  time-grouping  in  accordance 
with  the  value  of  the  longer  sound  evolved. 

A.    Allegro.  Haydn. 


I 


Section  11. 

B.   Presto.  Ibid. 

^^^^^^^ 


61 


C.  Allegretto, 


Ibid. 

:  V 


r  I 


D.  Adagie. 


Ibid. 


•  •  •  • 


E.  Andante. 


Ibid. 


^^if^'  —  


J  1 


F.  Adagio. 

Mozart. 



T 
4  ^ 

G.  Allegro. 


Ibid. 


^  3    ^         .  H.   Allegretto.  Ibid. 


Section  n. 


I.  Allegro, 


Ibid. 


J.  Allegretto. 


Ibid. 


Beethoven. 


K.  ^//.-^r^;. 


4 


L.  Allegro. 


Ibid. 


*  

J  J 

rl 

r 

^^^^^ 

tL 

Sec.  Ill    rhe  Shake  !n  older  music. 


63 


SECTION  m. 


The  Shake. 


1.  The  Shake  or  Trill  —  Fr.  trille.    Ger.  Trilier.   It.  trillo  — 

is  the  most  brilliant  of  the  graces  and  consists  of  the  rapid  and 
regular  alternation  of  the  sound  indicated  by  the  written  note  (called 
the  principal  sound)  with  an  auxihary  sound  one  degree  above.  It 
is  necessary  to  make  a  distinction  between  the  employment  of  the 
shake  in  modern  and  in  older  music.  The  latter  claims  our  first 
attention. 

2.  The  shake  is  indicated  by  a  waved  line  or  ™  or, 

in  modern  editions,  by  the  abbreviation  tr.  The  latter  indication  is 
not  infrequently  followed  by  the  waved  hne,  thus  tr^^  

3.  The  diatonic  sound  one  degree  above  the  principal  sound 
must  be  understood  as  the  pitch  of  the  auxiliary,  unless  the  contrary 
be  specified.  In  the  latter  contingency,  an  accidental  is  placed  above 
the  sign.  The  flat  in  Ex.  i  signifies  that  D  I?  is  to  be  substituted  for 
the  diatonic  D  natural  which  would  otherwise  be  played.  The 
auxiliary  sound  of  a  shake  upon  the  6th  of  the  minor  scale  is  the 
minor  7th.    (Vide  Sec.  11.  par.  15.) 


4.    The  shake  commences  upon  the  auxiliary  sound.    (Ex.  2.) 


'7 

tr 


Bach.    Fantasia  in  Cmin. 


Ex.  2. 


5.  Many  circumstances  arise  which  necessitate  a  modification 
of  the  rule  giv^en  in  par.  4.  For  example,  the  shake  commences  with 
the  principal  sound  when  it  is  preceded  by  a  sound  one  degree  above 
(Ex.  3)  or  one  degree  below.   (Ex.  4.) 


Bach     Partita  m  (Sarabande). 


64       Sec.  in.   The  Shake  in  older  music.   (The  prefix.) 

Bach.    Italian  Concerto,     ist  mov. 


Ex.  4. 


6.  The  shake  also  begins  with  the  principal  sound  when  the 
latter  is  specially  prominent  as  the  initial  sound  of  a  passage  (Ex.5); 
or,  when  it  is  approached  by  an  interval  which  melodic  considerations 
require  to  be  exactly  retained  (Ex.  6).  In  the  latter  instance,  the 
gradual  descent  of  the  lower  sounds  from  G  to  C  is  a  sufficient 
indication  that  the  ornament  should  commence  upon  the  last-named 
sound. 

Bach.    D.  W.  K.(i)  Bk.  II.    Fugue  13. 


Ex.  5. 


Ex.  6. 


Bach.    Concerto  in  Z>min.  (Vivaldi). 


7.  When  the  sound  which  bears  a  shake  is  preceded  by  a  rest 
or  is,  in  any  way,  detached  from  the  previous  sound,  the  ornament 
is  treated  in  the  same  manner  as  when  it  occurs  upon  a  starting 
sound  (par.  6).  The  shake  accordingly  begins  with  the  principal 
sound.  (Ex.  7.) 

Bach.    D.  W.  K.  Bk.  I.    Fugue  6. 


Ex.  7 


•f3 


8.  A  shake  is  often  approached  by  prelimmary  sounds  which, 
though  executed  within  the  tune- value  of  the  written  note,  fall  outside 
the  general  scope  of  the  ornament  which  may  then  be  roughly 
regarded  as  a  combination  of  the  turn  and  shake.  Such  preliminar;y 
sounds  are  indicated  by  a  curve  prefixed  to  the  waved  line.  When 
the  prefix  is  from  below,  it  signifies  that  the  shake  is  to  be  ap- 
proached from  the  sound  immediately  below  the  principal  sound.  This 


(r)  i.  e.  Das  Wohltempcrirte  Klavier. 


Sec.  III.    The  Shake  in  older  music.    (The  termination.)  65 

sound,  together  with  the  principal  sound  and  the  first  appearance  of 
the  auxihary  sound  then  practically  form  an  inverted  turn.    (Ex.  8.) 


Ex.  8. 


Bach.    30  Variations  (Var.  14). 


9.  In  modern  editions  of  the  older  works,  the  above  prefix  is 
sometimes  indicated  in  the  following  manner.  (Ex.  9.)  It  is  unneces- 
sary to  say,  that,  in  the  execution  of  the  ornament,  the  apparent 
repetition  of  the  principal  sound  is  not  observed. 


Bach.    Italian  Concerto,     i^t  mov. 


10.  When  the  prefix  is  from  above,  the  shake  commences 
with  the  auxiliary  followed  by  the  principal  sound  which,  in  turn,  is 
succeeded  by  the  diatonic  sound  immediately  below.  (Ex.  10).  The 
succession  of  these  three  sounds  forms  a  regular  turn  and  is  the 
exact  converse  of  the  prefix  described  in  par.  8. 


Ex 


..o.plt 


Uvvv 


Bach.    30  Variations  (Var.  1 6). 


— 1 

— 1 

II.  In  modern  editions,  the  upper  prefix  is  also  frequently 
represented  in  an  equivocal  manner.  Thus,  in  the  final  bar  of  Bach's 
Chromatic  Fantasia  (Peter's  Ed.). 

^^^^^P  ^  ^^^^ 


13.  The  shake,  in  general,  terminates  upon  the  principal  sound. 
;But,  under  certain  conditions,  the  diatonic  sound  next  below  the 
principal  sound  may  be  substituted  for  the  last  appearance  of  the 
auxiliary  sound,  thus  forming  a  termination  not  unlike  a  turn,  by 
which  term  it  is  generally  described.  Such  a  termination  is  indi- 
cated variously  by  the  following  symbols  /vW,  -vv/vj/;  /w^,  all  of  which 

Ernest  Fowles,  Studies  in  Musical  Graces.  5 


66    Sec.  III.    The  Shake  in  older  music.    (The  termination.) 

ma}^  be  regarded  as  conveying  the  same  idea.  Ex.  12  illustrates 
the  termination  in  question. 

Bach.    Partita  in  D  (Menuet). 


13.  The  termination  described  in  par.  12  is  not  invariably 
indicated.  It  may,  however,  be  added  when  the  sound  which  follows 
the  shake  is  accented  or  is  at  a  stronger  part  of  the  bar,  relatively, 
than  that  at  which  the  shake  occurs.  In  such  cases,  modern  editors 
not  infrequently  indicate  the  termination.    (Ex.  13.) 


Bach.    Fugue  in  A  min. 


14.  The  above  rule  is  not  invariable.  The  shakes  in  Ex.  14,  for 
instance,  would  destroy  the  symmetry  of  the  one-bar  figures  if  they 
were  connected  by  a  turn  to  the  following  sounds.  The  obvious  [ 
difference  between  the  examples  here  given  will  be  sufficient  to  enable 
the  student  to  discriminate  between  those  shakes  which  require  the 
termination  and  those  in  which  its  introduction  would  be  fatal  to  the  i 
idea  involved. 


^^^^ 

Ba 

,  ,  ,   .  iir 

ch.    D.  W.  K.  Bk.  I.  Fugue 

15. 

15.  The  rule  is  also  annulled  when  the  shake  occurs  uj^on 
the  closing  sound  of  a  musical  idea  or  rhythm,  even  though  the 


Sec.  III.    The  Shake  in  older  music.   (The  termination.)  67 


latter  be  followed  directly  by  the  sound  which  commences  the  new 
idea.    (Ex.  15.) 

Bach.    Concerto  in  6^  min.  (Vivaldi). 


Ex.  15. 


16.  The  signs  which  respectively  indicate  the  prefix  and  the 
termination  occasionally  appear  in  combination.  Ex.  16  commences 
with  the  lower  prefix;  Ex.  17  with  the  upper  prefix. 


Ex.  16. 


Bach.    French  Suite  No.  II  (Aria). 

T 

— 42^ 


Ex.  17. 9^~c|ri^=^ 


Bach.    Little  Prelude  in  C. 

4f 


17.  Shakes  upon  long  sounds  connected  by  the  tie  to  shorter 
sounds  require  no  embelUshed  termination.  (Ex.  18.  A)  Much  confiision 
exists  with  regard  to  the  correct  execution  of  such  shakes.  Some 
executants  close  the  ornament  upon  the  shorter  sound  (B);  others 
add  a  turn  (C).  A  more  correct  renderings  however,  is  to  close  the 
shake  immediately  before  the  shorter  sound,  thus  allowing  a  conscious 
though  minute  point  of  time  to  elapse  between  the  termination  of  the 
shake  and  the  time  -  position  indicated  by  the  second  of  the  tied 
notes  (D).    This,  it  may  be  added,  was  the  original  practice. 


Vivace.       Bach.  French  Suite  No.  II  (Courante). 

A.  fr 


Ex.  18. 


68    Sec.  III.   The  Shake  in  older  music.   (Upon  dotted  notes.) 


1 8.  Nevertheless ;  when  the  note  to  which  the  first  is  tied  is 
followed  by  two  notes  capable  of  forming  a  termination  to  the  shake, 
the  latter  is  continued  over  the  tie  and  the  two  notes  are  incorpor- 
ated into  the  shake.    (Ex.  19.) 

Bach.    Fantasia  in  Cmin. 


Ex.  19. 


tr 


19.  No  turn  is  added  to  a  shake  followed  by  an  unaccented 
sound.    (Ex.  20.) 

Handel.    Suite  No.  VII.    2nd  mov. 


Ex.  20. 


V 


V 


20.  Shakes  upon  sounds  indicated  by  dotted  notes  also  require 
no  turn.  The  shake  stops  at  or  immediately  before  the  time-position 
of  the  dot.  The  following  sound  is  not  infrequently  shortened  in  value 
in  order  to  give  greater  accentual  force  to  the  accented  sound  w^hich 
in  such  cases  usually  follow^s  the  sound  after  the  dot.    (Ex.  21.) 


Little  Prelude  No.  XI. 


Ex.  21. 


21.  If;  however,  the  note  which  follows  the  dot  be  subdivided, 
the  shake  continues  beyond  the  dot  and  the  sounds  indicated  by  the 
subdivided  notes  are  incorporated  with  the  ornament  by  way  of 
termination.    (Ex.  22.)    (Cf.  Ex.  19.) 

Bach.    Partita  No.  I  (Courante). 


Ex.  22 


Sec.  HI.  The  Shake  in  older  music.  (Upon  short  sounds.)  69 


22.  Some  writers  hold  that  the  rule  in  regard  to  dotted  notes 
is  abrogated  if  the  note  which  follows  the  dot  indicate  the  same  pitch 
as  the  auxiliary  sound  of  the  shake.  A  turn  is  then  frequently  added 
to  the  latter.    (Ex.  23.)  (Cf.  par.  27.) 

Bach.    Partita  No.  II.     i^t  mo  v. 


23.  No  turn  is  appended  to  shakes  which  occur  upon  a  sound 
followed  by  a  rest.  The  shake  does  not  continue  during  the  whole 
value  of  the  sound,  but  ceases  midway  or  a  little  later  than  midway 
in  its  value.  Nevertheless,  the  sound  itself  is  not  abbreviated  in 
value,  but  is  held  to  its  full  extent  after  the  cessation  of  the  ornament. 
(Ex.  24.) 

Bach.    Concerto  in  C  (Vivaldi). 


Ex.  24 


24.  A  shake  sometimes  occurs  upon  a  sound  so  short  that  a 
due  observance  of  the  ornament  results  in  an  abbreviation  of  the 
time-value  of  the  following  sound  or  sounds.    (Ex.  25.) 


Bach.    Partita  No.  I.     1*^  mov. 

 /VVV   


Ex.  25. 


70    Sec,  III.    The  Shake  in  older  music.  (Cadential  shakes.) 


25.  When  a  shake  occurs  upon  a  tied  note,  the  latter  is 
regarded  as  indicating  the  time -position  of  the  first  sound  of  the 
ornament.  The  shake  then  continues  in  the  customary  manner.  (Ex.  26.) 

Handel.    Suite  No.  VII.    2nd  mov. 


Ex.  26. 


26.  The  sign  which,  under  normal  circumstances,  indicates  the 
upper  mordent  (q.  v.)  is  occasionally  though  irregularly  employed  to 
indicate  the  shake.  It  is  generally  found  in  a  cadential  position 
(Ex.  27)  (Cf  par.  22). (i) 


Bach.    Partita  No.  I  (Courante). 

3   


27.  A  cadential  shake,  preceded  by  a  sound  of  the  same  pitch 
as  the  auxiliary  sound,  is  frequently  executed  as  in  Ex.  28.  Additional 
grace  is  thereby  given  to  the  ornament.  Here,  as  in  Ex.  21,  the 
sound  following  the  dot  is  shortened  in  time-value. 


Bach.    D.  W.  K.  Bk.  II.    Fugue  22. 


Ex. 


r 

1  1 

^  -rrf- 

I 


(1)  When  the  sign  of  the  upper  mordent  is  placed  over  a  dotted  note  followed 
by  shorter  notes  after  the  manner  of  Ex.  22  ante,  the  grace  must  be  understood  as 
a  shake.  This  precept,  as  far  as  the  writer  is  aware,  is  invariable  in  music  of  the 
time  and  style  of  Bach. 


Sec.  UI.  The  Shake  in  modern  music.  (The  starting  sound.)  71 


28.  Ex.  29  is  another  cadential  shake  which  harmonic  considera- 
tions require  to  be  executed  in  the  manner  set  forth.  The  shake 
stops  immediately  before  the  dot  to  avoid  the  consecutive  5ths  which 
would  otherwise  ensue.  The  sound  which  follows  the  shake  is 
abbreviated,  not  only  because  of  the  variable  value  of  the  dot  in 
such  a  position;  but  also  to  prevent  the  harshness  that  would  be 
caused  by  the  sounding  of  the  7th  as  a  bichord. 


Bach.    D.  W.  K.  Bk.  II.    Fugue  19. 


4S: 


Ex.  .9.  pEE 


T 


LJ 


r 


29.  We  may  now  turn  to  the  employment  of  the  shake  in 
modern  music.  In  the  method  of  indication  and  the  pitch  of  the 
auxiliary  sound,  it  follows  the  rules  already  given  in  connexion  with 
the  older  trill.  The  modern  shake  usually  continues  during  the  whole 
value  of  the  written  note  and,  in  contradistinction  to  the  older  practice, 
commences  upon  the  principal  sound.  At  the  period  of  transition 
between  the  older  and  newer  methods  and  before  the  absolute 
establishment  of  the  latter,  composers  sometimes  prefixed  to  the 
shake-noAe  a  small  note  resembling  the  acciaccatura ,  in  order  to 
ensure  the  correct  performance  of  the  ornament.  When  this  note 
indicated  the  same  pitch  as  the  principal  sound,  it  signified  that  the 
shake  was  to  commence  with  that  sound (i);  when  it  was  one  degree 
above  the  principal  sound,  it  not  only  indicated  the  pitch  of  the 
auxiliary  sound  but,  also,  that  the  shake  was  to  commence  with  that 
sound.    (Ex.  30.) 

Mozart.    Sonata  in  F.    ist  mov. 


Ex. 


30.  An  exception  to  the  rule  that  the  modern  shake  should 
begin  upon  the  principal  sound,  unless  the  contrary  be  expressed  by 
the  prefix  above-described,  may  occur  when  the  sound  which  bears 
the  ornament  is  immediately  preceded  by  an  undetached  sound  of 


(I)  This  indication  is  generally  suppressed  in  modern  aditiont. 


7  2     Sec.  III.    The  Shake  in  modern  music.    (The  prefix.) 

the  same  pitch  (Ex.  31).  Nevertheless,  if  the  anticipatory  sound  be 
staccato  or  otherwise  detached,  the  rule  holds  good.    (Ex.  32.) 


Mendelssohn.    Prelude.    Op,  35  No.  4. 


Ex. 


tr 

^-1— —  — \  

4 

Ex 


Beethoven.    Variations.    Op.  35  (Van  15). 


31.  In  the  music  of  the  earlier  modern  writers,  the  shake  often 
begins  upon  the  auxiliary  if  it  be  approached  from  the  sound  below. 
(Ex.  33.)  But,  in  music  of  a  somewhat  later  date  as  well  as  in 
modern  music  generally,  this  requires  to  be  specially  indicated. 
(Ex.  34.) 

Mozart.    Sonata  in  C.     ist  mo  v. 


Ex.  33. 


•0.0 

— 1 

3= 

Ex.  34. 


Schubert.    Sonata  in  A.    2"^  mov. 

\^fr  


32.  The  lower  prefix  described  in  par.  8  is  also  common  to 
modern  music.  It  is  variously  indicated  and  often  in  an  extremely 
ambiguous  manner.  Thus,  the  methods  employed  in  the  following 
examples  all  virtually  mean  the  same  thing  and  "therefore  lead  to  the 
same  result. 


Mozart.     Sonata  in  C.  2"^ 


Sec.  III.  The  Shake  in  modern  music.  (Irregular  prefixes.)  73 


III  t  t 


0  p 


Beethoven.    Variations.    Op.  35  (Finale). 


tr —  r 


Ex.  37. 


Schumann.    Geschwindmarsch.    Op.  99  No.  14, 


33.  Irregular  prefixes  are  often  met  with,  the  time-value  oi 
which  is  almost  invariably  taken  from  that  of  the  principal  sound  of 
the  shake.    Of  such  are  the  following. 

Beethoven.    Sonata.    Op.  31  No.  i.    2Dd  mov. 

1  m  rri 


Ex.  s8. 


i — 3 — 3.    i   i   i  r 


tr 


Beethoven.    Rondo.    Op.  51  No.  2. 


Schumann.    Concertstuck.    Op.  92. 


74    Sec.  III.  The  Shake  in  modern  music.    (The  termination.) 

34.  The  turn  at  the  conclusion  of  a  shake,  if  not  expressly 
indicated,  is  usually  understood  and  introduced  accordingly.  (Ex.41.) 


Weber.     Variations  in  F. 


35.  When  followed  by  a  sound  one  degree  below  the  principal 
sound,  the  lower  auxiliary  of  the  turn  takes  the  pitch  of  that  sound 
unless,  as  in  Ex.  42,  the  contrary  be  specified. 


Beethoven.    Sonata.    Op.  31  No.  3 


36.  A  turn  is  often  appended  to  a  shake  upon  a  very  short 
sound.  (Ex.  43.)  Should,  however,  the  tempo  be  too  rapid  to  permit 
of  the  inclusion  of  the  turn,  it  is  necessarily  omitted  and  the  shake 
is  limited  to  one  beat.(i)  To  this  species  of  shake,  we  shall  presently 
refer. 


Largo. 


Beethoven,    Variations.    Op,  35  (Var.  15.) 

r 


Ex.  43. 


37.  The  closing  turn  is  indicated  —  (A)  by  small  notes  (Ex.  44); 
(B)  by  a  single  small  note  (Ex.  45)  or  (C),  in  exact  notation  (Ex.  46). 

Schumann.    Paganini  Caprice.   Op.  lO  No.  2. 

I  ^'^0-^=^  


Ex.  4,. 


4- 


(I)  The  student  must  ob'^crve  the  use  made  here  of  the  word  b(at.  It  signifies 
e:ich  alternation  of  the  two  sounds  which  form  the  shake. 


Sec.  III.    Th?  Shake  'In  modern  music.   (The  termination.)  75 


Ex.  45. 


Mozart.    .Sonata  in  C.  mov. 


Ibid.    Sonata  in         2"d  mov. 


(//■ 

• 

38.  When  the  shake  occurs  upon  a  sound  followed  by  a  rest, 
a  turn  is  introduced  and  so  performed,  that  the  final  sound  of  the 
ornament  occurs  at  the  exact  expiration  of  the  time -value  of  the 
written  note.    (Ex.  47.) 

Haydn.    Sonata  in  D.    2^<^  mov. 


^  V  }  1 — f — 

39.  When  a  shake  is  indicated  upon  a  long  note  tied  to  a 
short  note,  the  turn  is  frequently  omitted  from  the  shake,  the  last 
sound  of  the  ornament  falling  in  the  time -position  indicated  by  the 
tied  note.  (Ex.  48.)  The  same  rule  obviously  affects  Ex.  49,  and 
it  may  be  incidentally  remarked  that  the  execution  of  the  ornaments 
would  be  the  same  if  the  notes  were  not  tied. 

Beethoven.    Sonata.    Op.  IIO.     i^t  mov. 


Ex.  48. 


Beethoven.    Variations.    Op.  34  (Var.  i). 


Ex.  49.^ 


Adagio.  ff^ 


f  f  f 


13 





76    Sec. III.  The  Shake  in  modern  music.  (The  termination.) 


40.  When,  however,  the  tied  note  is  as  long  or  nearly  as  long 
as  the  first,  the  shake  continues  throughout  the  entire  value  of  both 
unless  the  contrary  be  directly  specified.   (Ex.  50.) 


Allegro  risoluto. 


Beethoven.    Sonata.    Op.  106  (Fugue). 


Ex.  50 


41.  The  turn  is  often  omitted  from  a  shake  occurring  upon 
a  sound  of  the  nature  of  an  appoggiatura,  i.  e.  upon  an  accented 
sound  followed  by  an  unaccented  sound.    (Ex.  51.) 

Mozart.    Sonata  in  C.     ist  mov. 


Ex.  51. 


7  = 
1/ 


r 


42.  No  turn  is  necessary,  speaking  generally,  when  a  shake 
is  immediately  followed  by  a  sound  one  degree  below  the  principal 
sound  of  the  shake.    Vide  Ex.  51.    Per  contra  vide  Ex.  50. 

43.  In  earlier  modern  music,  a  composer  directed  the  execu- 
tion of  a  shake  without  the  turn  as  in  Ex.  52. 

Mozart.    Sonata  in  B^^.    3rd  mov. 


44.  When,  in  a  passage  containing  a  succession  of  shakes, 
some  only  are  indicated  with  the  turn,  it  is  generally  understood 
that  the  turn  is  to  be  withheld  from  those  shakes  in  which  the  in- 
dication does  not  appear.  Vide  Beethoven's  Sonata  Op.  31  No.  i 
2"d  mov.  bars  99 — loi. 

45.  Similarly,  when  a  movement  contains  many  examples  ot 
the  shake,  some  having  an  indication  of  the  turn,  others  without 
such  indication,  their  execution  must  be  understood  accordingly. 
The  Fugue  in  Beethoven's  Sonata  Op.  106  is  a  case  in  point. 


Sec.  III.  The  Shake  in  modern  music.  (The  termination.)  77 


46.  When  shakes  are  added  to  a  series  of  sounds  occupying 
a  subordinate  or  non-melodic  part,  the  turns  are  omitted  unless  ex- 
pressly indicated.  Thus,  the  chief  significance  of  Ex.  53  lies  in  the 
lower  part  which  contains  the  melodic  idea.  The  introduction  of 
turns  into  the  shakes  of  the  upper  part  would  destroy  the  sim- 
plicity of  its  outline  and  add  an  element  of  unnecessary  and  disturbing 
embellishment. 

  Beethoven.    Variations,  Op.  34  (Finale). 


:&c. 


1^ 


r 


47.  An  irregular  termination  is  sometimes  appended  to  a  shake 
when  it  usually  takes  the  place  of  the  turn.    (Exs.  54  and  55.) 


Ex.  54. 


Beethoven.    Sonata  Op.  57.    i^t  mov. 

3 


Ex.  55. 


Schumann.    Sonata  Op.  ii  (Finale). 


78    Sec.  in.  The  Shake  in  modern  music.  (The  Passing  Shake,  &c.) 

48.  The  shortest  type  of  shake  contains  but  one  beat  and  is 
generally  termed  a  Passing  Shake.  (Cf.  par.  36.)  Of  such  are 
Exs.  56  and  57. 

Haydn.    Sonata  in  l»t  mov. 


Ex.  57. 


Mozart.    Sonata  in  C.     ist  mov. 


&c. 


49.  When  the  passing  shake  occurs  upon  very  short  sounds, 
its  execution  often  necessitates  an  abbreviation  of  the  time-value  of 
those  which  follow.    (Ex.  58.)    (Cf.  par.  24.) 


£^  Allegro  moderate . 


Mozart.    Sonata  in  C.     ist  mov. 


££££££ 


50.  Shakes  upon  sounds  indicated  by  dotted  notes  offer  many 
varieties  of  execution.  If  the  dotted  note  fill  a  complete  beat  or  a 
series  of  complete  beats,  the  shake  follows  the  rules  which  regulate 
those  upon  undotted  notes,  i.  e.  it  continues  during  the  whole  value 
of  the  sound  and  terminates  in  the  usual  way.    (Ex.  59.) 

Adagio  grazioso.  Beethoven.    Sonata  Op.  31  No  I.     2nd  mov. 

Ex.  59. 

ir 


51.  When  the  dotted  note  is  detached,  the  passing  shake  ot 
three  sounds  in  employed.    (Ex.  60.) 

Beethoven.    Bagatelle  Op,  1 19  No.  5. 

ir  ^ 


Ex.60.  ^5 


52.  When  the  dotted  note  is  followed  by  a  note  of  the  same 
value  as  the  dot.  a  distinction  has  often  to  be  made  between  the 


Sec.  III.   The  Shake  in  modern  music.   (Double  Shake,  &c.)  79 


practice  of  the  earHer  modern  writers,  e.  g.  Haydn  and  Mozart,  and 
that  of  the  writers  posterior  to  and  including  Beethoven.  Thus, 
such  a  shake  —  in  the  earlier  period  —  would  be  interpreted,  as 
in  Ex.  61  This  method  of  execution  is  therefore  like  that  of  the 
turn  in  similar  circumstances.  (Sec.  II.  par.  29.)  On  the  other  hand, 
the  shake  in  Ex.  62  requires  to  be  continued  until  the  end  of  the  beat, 
the  sound  indicated  by  the  second  of  the  two  written  notes  being 
incorporated  into  the  termination  of  the  shake  and  abbreviated  in 
time-value. 

Adazio     .  Mozart.    Sonata  in         2nd  mo  v. 


Ex  61 


-a- 


Allegro  vivace. 


Weber.    Polacca  brillante. 


Ex.  62. 


8va- 


53.  When  the  latter  part  of  the  beat  is  made  up  by  shorter 
sounds  of  equivalent  value,  the  execution  becomes  considerably  sim- 
plified. These  subdivisions  of  the  longer  sound  then  form  the  ter- 
mination of  the  shake.    Vide  Exs.  30  and  54. 

54.  A  shake  may  be  lengthened  indefinitely  by  the  Pause. 
Except  in  regard  to  the  abnormal  number  of  its  beats,  such  a  shake 
is  entirely  regular.    (Ex.  63.) 


Hiller. 


Ex.  63. 


55.  Double,  triple  and  even  quadruple  shakes  are  of  frequent 
occurrence,  the  one  condition  of  their  correct  execution  being,  that 
each  single  shake  shall  be  performed  as  though  the  other  or  others 
were  absent.  It  is  almost  unnecessary  to  add  that  the  beats  must 
proceed  in  consonance  throughout  the  shake.  The  following  is  an  example. 

Haydn.    Sonata  in  ^b-  mov. 


Ex.  64. 


n  1. 


r 


»^        ^  ^  u-;^ 

If  W 


8o    Sec.  111.  The  Shake  in  modern  music.  (The  Chain  of  Shakes.) 


56.  A  succession  of  shakes  upon  sounds  ascending  or  des- 
cending by  conjunct  steps  is  termed  a  Chain  of  Shakes.  —  Fr.  chaine 
de  trilles.    Ger.  Kettentriller.    Trillerkette.    It.  catena  di  trilli. 

The  shakes  are  connected  and  form  a  continuous  trill  throughout 
the  passage.  As  a  rule,  the  turn  appears  in  the  last  shake  only. 
The  following  method  is  observed  in  passing  from  shake  to  shake. 
When  the  same  auxiliary  is  common  to  two  shakes,  the  outgoing 
shake  terminates  with  the  auxiliary;  when  two  shakes  have  distinct 
auxiliaries,  the  outgoing  shake  ends  with  the  principal  sound.  The 
reason  for  this  rule  will  be  apparent  from  an  examination  of 
Ex.  65. 


Beethoven.  Variations  "Tandeln  und  Scherzen"  (Var.  7.) 


57.  In  a  descending  chain  of  shakes,  each  shake  ends  with 
the  principal  sound.    (Ex.  66.) 


Adagio.  Beethoven.    Rondo  Op.  51  No.  2. 


Sec.  III.  The  Shake  in  modern  music.  (Exceptional  forms.)  8* 


58.  In  Ex.  67,  the  composer  directs  the  execution  of  a  turn 
at  the  end  of  each  shake.  The  effect  of  the  passage  is  therefore 
entirely  different  from  that  of  Ex.  65. 


Ex.  67.  fe^^t^"^ 


Chopin.    Impromptu  in  A]^-    Op.  29. 


59.  Exceptional  circumstances  or  local  conditions  occasionally 
insist  upon  the  execution  of  a  shake  in  a  manner  not  amenable  to 
strict  rule.  Thus,  the  occurrence  of  accompanying  sounds  (played 
by  the  same  hand  as  the  shake)  often  necessitates  a  slight  modification 
of  the  ornament.    Ex.  68,  for  instance^  is  generally  performed  in  the 


Allegro, 

tr — 


Ex.  68. 


Beethoven.    Sonata  Op.  106  (Fugue). 


manner  set  forth.  Again,  the  shake  given  in  Ex.  69  is  usually  ab- 
breviated and  the  turn  omitted  in  order  to  avoid  a  discordant  clash 
with  the  final  sounds  of  the  lower  part;  as  well  as  to  give  a  more 
distinct  outline  to  the  following  chord  which  commences  the  most 
important  rhythm  of  the  movement. 


Ex.  69. 


Beethoven.    Sonata  Op.  no.    ist  mov. 

fy.^^  


60.  When  a  melody  and  continuous  shake  are  required  to  be 
played  by  the  same  hand,  the  shake  ceases  immediately  before  each 
sound  of  the  melody  and  is  resumed  immediately  after.    In  such 

Ernest  Fowles.  Studies  in  Musical  Graces.  0 


C7/.     Sec.  III.   The  Shake  in  modern  music.   (False  Shakes.) 


f:ases,  the  continuity  of  the  shake  is  illusory  and  the  term  False 
Shake  is  often  appHed  to  the  device.  Other  forms  of  the  so-called 
false  shake  exist,  but  it  is  unnecessary  to  particularize  them  here. 
An  example  is  subjoined. 


Beethoven.    Sonata  Op.  109.    3rd  mov. 


61.  Lastly,  the  student  should  give  particular  attention  to  the 
time-division  of  the  sounds  which  form  a  shake.  A  careful  examina- 
tion of  the  examples  given  in  this  Section  v^^ill  have  shown  him, 
that,  the  beats  of  a  shake  should  be  sufficiently  numerous  to  give 
the  necessary  brilliance  to  the  ornament.  That  they  should  be 
regular  is  inherent  in  the  nature  of  the  divisions  of  time  of  which 
they  form  a  part.  It  is  often  necessary  to  break  the  uniformity  in 
order  to  obtain  an  effective  termination,  but  the  result  is  generally 
to  invest  the  ornament  with  additional  grace.  The  number  of  sounds 
in  a  long  shake  must  necessarily  depend  upon  the  skill  of  the  per- 
former, but  ordinarily  it  may  be  understood,  that,  the  effect  of  the 
ornament  is  in  direct  ratio  to  the  frequency  of  its  beats. 

62.  The  practice  of  the  shake  is  in  the  highest  degree  beneficial 
to  the  practical  student;  its  complete  command  is  often  synonymous 
with  high  technical  attainment. 


Questions  and  Exercises  on  Section  III. 

1.  Contrast  —  in  reference  to  musical  effect  and  significance  —  the 
turn  and  the  shake. 

2.  Name  the  broad  difference  between  the  older  and  the  modern 
§hake, 


Section  III. 


83 


Can  you  give  a  reason  why  the  difference,  alluded  to  in  the 
previous  question,  exists? 

When  it  is  desired  that  a  shake  should  assume  a  chromatic 
form,  how  does  the  composer  indicate  the  fact?  Illustrate  your 
reply  by  indicating  a  chromatic  shake  upon  the  dominant  of 

D\>  maj.  .  . 

.  Enumerate  —  from  memory  — the  various  occasions  when  it 
is  necessary  to  begin  the  older  shake  upon  the  principal  sound. 
Upon  which  sound  would  you  start  the  following  shake?  The 
ornament  is  to  be  understood  as  belonging  to  the  period 
anterior  to  Mozart.    Give  the  reason  for  your  reply. 


8. 


I. 


2. 


Why  should  a  shake  upon  a  starting-sound  always  commence 
with  the  principal  sound? 

Define  — in  reference  to  the  shake  — the  term  ^'preliminary 
sounds'*. 

9.  Differentiate  the  two  species  of  preliminary  sounds  prefixed  to 
the  older  shake.  Write  the  respective  symbols,  in  each  case 
over  a  minim,  and  indicate  the  first  six  sounds  of  each  shake 
by  notes  of  appropriate  value. 
.  In  what  manner  may  the  prefix  to  a  shake  be  compared  to  the 
turn?  Refer,  in  your  reply,  to  both  types  of  prefix. 
What  is  the  most  usual  form  of  termination  applied  to  the 
older  type  of  shake? 

When  it  is  required  that  the  termination  of  the  older  shake 
should  be  embellished,  what  indication  is  employed?  Illustrate 
your  reply  by  writing,  in  full,  a  shake  upon  a  minim,  the  or- 
nament to  begin  in  the  normal  manner  and  to  end  with  the 
termination  just  alluded  to.    Add  the  original  symbol. 

3.  We  have  seen  that  a  formal  termination  is  more  generally 
employed  in  modern  than  in  older  music.  Give  an  instance  in 
which  it  may,  however,  be  introduced  into  the  older  shake. 

4.  In  older  music^  the  termination  of  a  shake  is  occasionally  indi- 
cated in  exact  notation.    Write  an  example. 

5.  Name  two  points  of  similarity  between  the  embellished  prefix 
and  the  termination  of  the  older  type  of  shake. 

6.  What  is  the  general  execution,  in  older  music,  of  a  jhake  the 
principal  sound  of  which  is  indicated  by  a  dotted  note?  In 
your  reply,  refer  particularly  to  the  differences  induced  by  the 
context  immediately  following. 


84 


Section  III. 


In  what  respect  may  the  execution  of  the  shake  upon  a  sound 
indicated  by  a  dotted  note  be  compared  to  that  of  the  turn  in 
a  similar  position? 

What  have  you  to  observe  with  regard  to  the  time- value  of  the 
dot  in  the  music  of  Bach? 

What  difference  of  opinion  occasionally  exists  with  regard  to 
the  execution  of  a  cadential  shake  upon  a  sound  indicated  by  a 
dotted  note? 

What  is  the  normal  execution  in  older  music  of  a  shake  upon 
a  terminating  sound  or  upon  a  sound  followed  by  a  rest? 
Describe  the  practice  usually  followed  when  a  cadential  shake 
is  preceded  by  a  sound  of  the  same  pitch  as  the  auxiliary 
sound  of  the  shake.  What  is  the  outcome  of  the  practice? 
The  following  indication  appears  in  the  original  editions  of 
some  eighteenth  century  music.    What  does  it  signify? 


23.  How  may  the  following  shake  be  interpreted?    The  ornament 
must  be  understood  as  belonging  to  the  period  of  Mozart. 


24.  Are  the  prefixes  employed  in  the  older  shake  also  common  to 
the  modern  shake?  If  so,  show  wherein  the  respective  methods 
of  indication  differ. 

25.  Differentiate,  in  respect  to  musical  significance,  the  employment 
of  the  embellished  termination  in  the  older  shake  from  its 
occurrence  and  use  in  the  modern  shake. 

26.  Give  three  ways  in  which  the  indication  of  the  turn  affixed  to 
a  shake  appears  in  modern  music.  Illustrate  each  method  by 
indicating  a  diatonic  shake  upon  the  dominant  of  B  maj. 

27.  What  is  the  pitch  of  the  auxiliary  sound  of  a  shake  upon  the 
sub-mediant  of  the  minor  scale?  Give  the  reason  for  your 
reply. 

28.  Detail  the  occasions  when  no  turn  is  affixed  to  a  modern  shake. 

29.  Define  a  passing  shake. 


J5ectlon  111. 


30.  Name  the  licence  which  must  inevitably  accompany  the  execu- 
tion of  the  following  shakes. 


31.  What  difference  frequently  requires  to  be  observed  between  a 
shake  indicated  upon  a  dotted  note  in  older  and  in  modern 
music  respectively? 

32.  Give  the  rule  which  regulates  the  correct  succession  and  execu- 
tion of  the  following  shakes.  Which  shake  requires  particular 
treatment?    What  is  the  term  applied  to  such  a  passage? 


0 

33.  What  is  a  false  shake?    How  is  the  term  justified? 

34.  Give,  in  exact  notation,  the  rendering  of  the  following  shakes 
from  Bach.  (N.  B.  In  these  and  the  following  exercises,  the 
student  must  be  prepared,  by  practical  exemplification  at  the 
Pianoforte,  to  illustrate  the  rules  which  govern  the  various 
given  forms  of  the  shake.) 


A.    Allegro.  B.  AitdanU. 


86 


»j)ection  in. 


F.  Allegro. 


cwvo 


G.  Allegro. 


r  rr 


I.  Moderate. 


fee 


r 


J.  Andante, 


^4 


r 


K.  Andante. 


L.  Andante. 

Ovvv 


J    J.  i 


r 


Section  III. 


87 


M.  Andante, 


N.  Allegro  moderato. 

rwv 


F3 


O.  Maestoso. 


p.  Alllgro. 
\  Sl 


r  f 


R.  Zm/u. 

I 


S.  Allegro. 

AVV  


AW 


T.  Moderato. 


U.  Allegro. 


AW 

3   L.I       i"^*^^  1-^'^^ 

88 


Section  III. 


35.  Proceed  in  the  same  manner  with  the  following  shakes  from 
the  works  of  Handel. 

A.  Adagio, 


B.  Adagio 


C.  Allegretto. 


r 


^     1  ^ 

- 

7— ' 

jet 


1r 


I 


E.  Sarabande. 

ir 


-3  ^ 


-2  6?- 


J  1 


-1^ 


1^    — .  — 


f  f  f • 


(9- 


if 


f  rif  r 


r 


36.  Indicate,  in  exact  notation,  the  execution  of  the  following  shakes 
from  Haydn. 


A.     Tempo  di  tnenuetto. 


B.     Tempo  di  tnenuetto. 

tr 


SectioA  III. 


D.    Allegro  vioderato. 


C.     Tempo  di  menuetto 

tr 


89 


E.  Larghetto. 

if  ^_ 


F.  Allegro. 


tr 


tr 


G.     Tempo  di  menuetto. 

tr^  tr^ 


H.    Allegro  assai. 


90 


Section  HI. 


K.  Adagio. 


tr       ^  — 


f    ^  f 


r 


L.  Andante. 

tr  tr 


tr 


tr*: 


^  ^  kF  w'^tfi/ 


m 


t) 

|-a  - 


37.  Proceed  as  before  with  the  following  ornaments  from  Mozart. 


A.  Allegro. 


tr_    tr  tc-D 

-       FFfi  n^  ™ 


^  — 


f 


B.    Allegro  assai. 


4 — ^ 


C.  A.lngio. 

1r 


■61  J'- 


f 


D.  Allegro. 

tr 


r  I  ' 


Section  111. 


F.  Andante. 


92 


J.  Allfgro. 

tr 


Section  III. 


38.  Proceed  as  before  with  the  following  ornaments  from  Beethoven. 

A.  Allegro. 


1^ 

1ft 

B.  Largo. 


C.    Allegro  con  brio. 

tr 


tr 


D.    Allegro  assai. 

tr  

I  i 


m 


,U  J.  J.  J.  J.  ij.  i  J.  #i  J.  ,4 


E.     /'<?r<?  Allegretto. 


tr 


Sec.  IV.    The  Mordent.    (The  two  forms.) 


93 


'/.  Adagio, 


tr 


,™  tr    *r     ^  I 


8va  bassa'"""^^'' 
G.     Tempo  di  Menuetto. 


fr   tr  tr — ^ 


H.    Allegro  assai. 


77' 


7!7' 


SECTION  IV. 

The  Upper  and  Lower  Mordent^ 
the  Double  Mordent  and  the  Slide. 

I.  The  Mordent  (from  mordeo  [Lat.]  =  I  bite,  I  sting)  has  two 
forms  each  of  which  consists  of  three  sounds.  One  form  is  indi- 
cated by  the  symbol  ^  and  contains  the  following  succession  of 
sounds,  all  of  which  are  executed  within  the  time-value  of  the 
written  note  —  (A)  the  principal  sound,  (B)  an  auxiliary  sound  one 
degree  above  and  (C)  the  repetition  of  the  principal  sound.  (Ex. 
I.  A.)  This  form  is  common  to  instrumental  music  of  every  type. 
The  alternative  form  is  indicated  by  the  same  symbol,  but  clear 
distinction  is  effected  by  a  vertical  stroke  which  passes  exactly 
through  the  centre  ^tv.  The  execution  of  this  form  of  the  mordent 
is  similar  to  that  of  the  other,  save  only  in  the  important  difference, 
that  the  auxiliary  sound  is  one  degree  below  the  principal  sound. 
(Ex.  I.  B.)  This  form  is  rarely  met  with  in  music  after  the  time  of 
the  writers  who  immediately  succeeded  Bach.  Either  form  is  played 
with  the  utmost  rapidity  and  the  characteristic  emphasis  resulting 


94 


Sec.  IV.    The  Mordent.  (Terminology.) 


from  this  particular  mode  of  performance  affords  a  key  to  the  deri- 
vation of  the  name  of  the  ornament. 


2.  In  England,  the  term  mordent  is  applied  to  both  forms  of 
the  ornament  and  this  has  led  to  a  slight  confusion  of  nomenclature. 
Some  writers  apply  the  term  only  to  that  form  in  which  the  upper 
auxiliary  is  employed  and  describe  the  alternative  form  as  the 
Inverted  Mordent.  Others  differentiate  the  forms  by  calling  them, 
respectively,  the  Upper  Mordent  and  Lower  Mordent.  The  latter 
terminology  is  adopted  here. 

3.  The  Germans  use  the  term  Mordent  to  describe  the  lower 
mordent  alone.  To  the  upper  mordent,  they  give  the  name  — 
Pralltriller.  This  nomenclature  has  not  only  the  advantage  of 
distinctiveness  but,  historically,  is  more  accurate.  The  upper  mor- 
dent, i.  e.  the  Pralltriller,  originated  in  the  shake  and  is  thereby 
strongly  differentiated  from  the  lower  mordent  or  Mordent  proper 
which,  derived  from  the  older  form  of  the  acciaccatura  (Sec.  I.  par.  22), 
stands  alone  and  distinct  from  all  other  ornaments  of  the  kind. 

4.  The  French,  also,  are  more  consistent  in  the  nomenclature 
they  apply  to  the  mordent.  Although  they  use  the  word  mordant 
as  a  general  term,  they  call  the  lower  mordent  —  pince  and,  to  the 
upper  mordent  or  German  Pralltriller,  they  apply  the  term  —  pince 
renverse.  This,  it  will  be  observed,  is  the  exact  converse  of  the 
practice  general  in  England. 

5.  The  terminology  of  the  Italians  in  this  matter  is  extremely 
vague.  The  word  mordente  is  used  as  a  general  term  to  describe 
all  ornaments  consisting  of  three  sounds  which  are  played  with  the 
emphasis  and  rapidity  of  the  mordent. 

6.  The  pitch  of  the  auxiliary  sound  requires  consideration. 
The  pitch  of  the  auxiliary  of  the  upper  mordent  is  always  that  of 
the  diatonic  scale  degree  next  above  the  principal  sound.  That  of 
the  auxiliary  of  the  lower  mordent  should,  strictly  speaking,  be  also 
diatonic.  It  is,  however,  a  frequent  practice  of  modern  performers 
and  editors  to  raise  the  auxiliary  by  a  chromatic  semitone  in  those 
cases  where  the  diatonic  sound  is  a  tone  removed  from  the  prin- 
cipal sound.  With  this  practice  in  operation,  the  lower  mordent  is 
made  uniform  in  type  and  is  thereby  strongly  contrasted  with  the 
variable  upper  mordent.  Since  it  is  in  the  works  of  Bach  that  the 
modern  student  most  frequently  encounters  the  lower  mordent,  it 
were  perhaps  better  that  the  original  pitch  of  the  auxiliary  —  as 
most  clearly  defined  by  the  master  in  the  numerous  examples  in 
his  music  written  in  exact  notation  —  should  be  observed.  Never- 


A. 


B. 


Sec.  IV.    The  Mordent.  (Pitch-formation.) 


95 


theless,  it  will  be  of  service  to  the  student  if  we  enumerate  the 
few  occasions  when  the  auxiliary  of  the  lower  mordent  ought,  in 
any  case,  to  be  a  tone  from  the  principal  sound. 

7.  When  the  lower  mordent  is  followed  immediately  by  a 
sound  one  whole  tone  below  the  principal  sound,  the  auxiliary  must 
take  the  pitch  of  that  sound.    (Ex.  2.) 

Allegro.  Handel.    Suite  No.  I  (Courante). 


Ex.  2. 


8.  An  exception  to  the  above  rule  occurs  when  the  principal 
sound  is  the  tonic  of  the  minor  scale  and  the  following  sound,  the 
minor  7  th  of  that  scale.    (Ex.  3.) 

Andante.  Handel.    Suite  No,  VII.    2"^  mov. 


9.  The  auxiliary  of  a  lower  mordent  upon  the  major  7  th  of 
the  minor  scale  invariably  takes  the  pitch  of  the  major  6  th.    (Ex.  4.) 


Andantino . 


Bach.    French  Suite  i^o.  II  (Sarabande). 


Q    I   2!l  .   -3  


10.  The  lower  mordent  upon  the  3i*d  degree  of  the  major 
scale  takes  the  2"d  degree  as  its  auxiliary.    (Ex.  5.) 

Bach.    French  Suite  No.  V  (Sarabande). 


Ex.  5. 


II.  If  the  tone  below  the  principal  sound  has  occurred  in  the 
same  part  immediately  before  (Ex.  6),  it  is  a  sufficient  indication  of 
the  pitch  of  the  auxiliary  sound  (A).    (B)  would  be  intolerable. 

Bach.    French  Suite  No.  IV  (Sarabande). 


Ex.  6. 


^-4, — 

(I)  This  rendering,  however,  is  essentially  modern.  The  minor  of  the 
minor  key  was  originally  admitted  in  all  such  cases. 


96     Sec.  IV.    The  Mordent.    Characteristic  feature  of  — 


12.  As  in  the  case  of  the  ornaments  previously  considered, 
chromatic  inflections  are  indicated  by  accidentals  placed  as  required 
above  or  below  the  symbol.    (Exs.  7  and  8.) 

Bach.    French  Suite  No.  Ill  (AUemande). 


Ex.  7. 


3 


Beethoven.    Sonata  Op.  13.     ist  moY. 


13.  The  suddenness  of  attack  which  characterizes  the  execution 
of  the  mordent  renders  it  not  unHke  the  ^'crushing"  appoggiatura  or 
acciaccatura.  But  — beyond  the  obvious  fact  that  the  mordent  contains 
an  additional  sound  —  there  is  a  difference  between  these  ornaments 
which  it  is  of  importance  to  observe.  The  accent  falls  upon  the  last 
sound  of  the  acciaccatura;  in  the  mordent,  it  very  frequently  falls 
upon  the  Ji7^st.  When  employed  in  a  position  of  climax;  when  it 
occurs  upon  one  sound  of  a  comparatively  rapid  passage;  when,  in 
brief,  the  introduction  of  the  grace  is  associated  with  a  necessity  for 
decisive  accentuation  and  rendering  —  then  must  it  bear  the  rigid 
interpretation  just  referred  to.  With  the  earlier  writers,  this  orna- 
ment did  not  necessarily  possess  the  strident  •  character  which  it 
ultimately  obtained.  Bach,  for  instance,  often  wrote  it  in  full  and  as 
a  comparatively  leisurely  grace,  with  the  accent  upon  the  concluding 
sound  (Ex.  9)  and  there  are  numerous  examples  in  his  works  which, 
though  indicated  by  the  sign,  appear  to  call  for  a  less  forceful 
rendering  and  for  the  placing  of  the  accent  in  a  similar  position, 
hi  this  connexion,  we  must  remember,  that,  it  is  the  attempt  to  place 
the  accent  upon  the  first  sound  which  is  largely  responsible  for  the 
"biting"  or  ''stinging"  effect  peculiar  to  the  mordent  as  it  is  most 
often  played. 


Two-part  Invention.    No.  6. 


Sec.  IV.    The  Mordent.   Difficulties  in  the  execution  of  —  97 


14.  The  execution  of  the  mordent  is  often  far  from  easy  owing 
to  the  fact,  that,  strictly  speaking,  it  should  not  fill  the  entire  time- 
value  of  the  sound  upon  which  it  occurs.  An  interval,  however 
slight;  should  always  remain  after  the  completion  of  the  ornament. 
As  a  rule,  this  mode  of  execution  is  perfectly  feasible.    (Ex.  10.) 


Allegro.  Haydn.    Sonata  in  E^-  (Finale.) 


15.  Occasionally;  however,  the  tempo  of  a  passage  containing 
examples  of  the  mordent  is  too  rapid  to  permit  of  the  execution 
outlined  in  par.  14.  Thus,  the  rendering  of  Ex.  11,  given  in  (A), 
is  practically  impossible  at  the  speed;  that  suggested  in  (B)  doubt- 
less indicates  the  original  intention  of  the  composer. 


16.  An  exception  to  the  sudden  attack  —  exactly  upon  the 
time-position  indicated  by  the  written  note  —  occurs  in  older  music, 
when  the  upper  mordent  is  connected  by  a  curved  line  (the  modern 
slur)  to  the  previous  note.  The  mordent  is  then  delayed  until 
immediately  after  the  time-position  of  the  principal  sound;  its  charac- 
teristic effect  then  becoming  considerably  modified.    (Ex.  12.) 


Bach.    Partita  No.  II. 


(Allemande). 


Ex.  12 


m 


Ernest  Fowles.  Studiei  in  Musical  Graces. 


98 


Sec.  IV.    The  Double  Mordent. 


17.  On  the  other  hand,  the  time-position  of  the  mordent  in 
the  following  passage  from,  music  oa  a  later  period  is  uninfluenced 
by  the  slur. 


Allegro  moderato. 


Ex.  1 


3-^ 


Haydn.    Sonata  in  E\f-     ist  mov. 


18.  The  mordent  is  sometimes  applied  to  one  sound  of  a 
chord,  when  ornament  and  chord  are  each  played  as  though  the 
other  were  absent.    (Ex.  14.) 


Bach.    Little  Prelude.    No.  XI. 


Ex.  14. 


19.  In  modern  music,  the  mordent  is  frequently  indicated  by 
small  untimed  notes.    (Ex.  15.) 


Moderato. 


Schubert.    Sonata  in  ^  min.   Op.  42.     ist  mov. 


Ex.  15 


20.  The  mordent  must  not  be  confused  with  the  passing  shake 
of  three  sounds.  (Sec.  III.  par.  48.)  The  three  sounds  of  the  mor- 
dent are  played  with  the  greatest  possible  rapidity  and  their  execution 
should  not  occupy  the  entire  value  of  the  principal  sound;  those  of 
the  passing  shake  do  not  require  the  percussive  force  of  the  mordent 
and,  moreover,  occupy  the  whole  time-value  of  the  principal  sound. 

21.  An  extended  form  of  the  lower  mordent  is  met  with  in 
the  works  of  Bach  and  his  contemporaries.  It  is  called  the  Long  or 
Double  Mordent  (Fr.  pince  double.  Ger.  langer  Mordent  or  Doppel- 
Mordent.)  and  is  indicated  by  the  sign  ^  or  aW.  This  sign  must 
be  carefully  distinguished  from  the  almost  similar  symbol  formerly 
employed  to  indicate  the  shake  with  formal  termination.  (Sec.  Ill 
par.  12.)  As  impHed  by  the  term,  the  double  mordent  contains 
2  beats  (vide  Footnote  to  Sec.  III.  par.  36)  against  the  single  beat 
of  the  simple  mordent.    It  is  necessarily  peculiar  to  longer  sounds 


Sec.  IV.    The  Sliae. 


99 


but,  except  in  length,  does  not  differ  from  the  latter  either  in  per- 
cussive force  or  in  musical  significance.    The  following  are  examples. 


Handel.    Suite  No. 


(Courante.) 


Ex.  1 6. 


^^^^ 


Adagio, 


Ex.  ,7,  g: 


4=£ 


Bach.    Toccata  in  ^  min. 


22.  Another  ornament  —  very  similar  in  character  to  the  mor- 
dent—  may  be  conveniently  considered  here.  It  is  known  in  Eng- 
land by  the  little-used  term  —  S/ic/e  (Fr.  coule.  Ger.  Schleifer.  It. 
vide  par.  5)  and,  in  its  simplest  phase,  consists  of  three  sounds 
ascending  or  descending  in  the  same  direction  and  by  conjunct 
steps.  These  are  played  with  great  rapidity  after  the  fashion  of  the 
mordent  and  the  time  of  their  execution  is  also  taken  ffom  that  of 
the  principal,  in  this  case  the  final,  sound.  In  Ex.  18,  the  orna- 
ment is  written  out  in  full. 


Ex.  18. 


Gavotte. 


Bach.    French  Suite.    No.  VI. 


23.  The  more  measured  execution  of  the  slides  in  Ex.  18  is 
not  characteristic  of  the  ornament  which,  as  we  have  already  ob- 
served, is  usually  played  with  a  mordent-like  rapidity.  It  is  a 
necessary  result  of  exact  notation,  that  the  composer  is  able  thereby 
to  indicate  a  particular  or  exceptional  performance  of  a  grace.  When 
such  indication  is  absent,  the  corollary  follows,  that,  the  customary 
execution  is  to  be  observed.  The  rendering  given  of  Ex.  19  is  an 
approximation  of  the  effect  intended  by  the  true  slide. 

Menuet.  Bach.    French  Suite.    No.  III.    2nd  Minuet 

^^J=^^jr^-4f^  =  ^^^^^ 

-^\vr"=^r   r  r 

24.  The  symbol  employed  in  Ex.  19  is  not  met  with  in  music 
later  than  that  of  the  writers  who  immediately  succeeded  Bach.  In 
still  older  music,  a  diagonal  stroke,  leading  from  note  to  note  and 

7* 


Ex.  19. 


lOO 


Sec.  IV.    The  extended  Slide. 


in  the  direction  of  the  actual  movement;  was  employed  for  the  same 
purpose.    (Ex.  20.) 


Kx.  20. 


25.  In  modern  music,  the  slide ;  if  not  expressed  in  exact 
notation,  is  indicated  by  small  untimed  notes.    (Ex.  21.) 

Beethoven.    Sonata  Op.  13.    3^*1  mov. 


Ex.  21. 


— — 

9 

26.  Not  infrequently,  the  slide  appears  in  extended  form,  com- 
prising 4,  5  or  more  sounds.  The  term  Tii'ata  {tirare  [It.]  =  to  draw 
out)  is  sometimes  and  incorrectly  applied  to  such.  The  true  tirata 
was  a  scale  passage  which  connected  two  sounds  of  a  melody  and 
absorbed  the  entire  time-value  between.  The  extended  slide,  on  the 
contrary,  takes  as  little  time  as  possible  in  execution  and,  like  the 
simple  slide,  leaves  some  time  over  for  the  final  measured  pause 
upon  the  principal  sound.    (Ex.  22.) 


Haydn. 


Sonata  in  Cjjmin. 


ist  mov. 


Section  LV. 


lOI 


Questions  and  Exercises  on  Section  IV. 

1.  Why  is  the  mordent  so-called? 

2.  Which  type  of  mordent  is  derived  from  the  shake? 

3.  Describe  both  types  of  the  mordent. 

4.  Give  the  German  terminology  applied  to  the  mordents  and  show 
v^herein  it  is  more  rational  than  our  own. 

5.  Express  the  following  in  exact  notation. 

B.   Moderato.  C.  Lento. 


A.  Allegro. 


9t 


10 


6.  Compare  the  terminology  applied  to  the  mordent  by  the  French 
with  that  current  in  England  and  in  Germany. 

7.  In  what  respect  does  the  pitch-formation  of  the  upper  mordent 
often  differ  from  that  of  the  lower  mordent? 

8.  In  what  manner  does  modern  practice  sometimes  modify  the 
pitch-formation  of  the  lower  mordent? 

9.  What  is  the  cause  of  the  practice  referred  to  in  the  previous 
question? 

Mention  some  occasions  when  the  interval  of  a  tone  ought  in 
any  case  to  be  preserved  between  the  principal  and  auxiliary 
sounds  of  the  lower  mordent. 
II.  The  mordent  is  occasionally  observed  in  the  music  of  Bach  and 
of  kindred  writers  as  a  comparatively  slow  grace.  How  was 
it  then  indicated? 

How  is  the  upper  mordent  differentiated  from  the  passing  shake 
of  three  sounds? 

When  is  the  mordent  —  in  respect  to  its  time-grouping  — 
exactly  similar  to  the  passing  shake  of  three  sounds? 
Express  the  following  in  exact  notation.  The  execution  of  the 
mordents  must  be  given  in  two  ways.  Firstly,  as  though  the 
passage  belonged  to  the  period  of  Bach;  secondly,  in  modern 
form. 


12 


13 


 5  

15.  In  what  respect  does  the  indication  in  modern  music  of  the 
upper  mordent  often  differ  from  that  in  older  music? 


I02 


Section  IV. 


1 6.  Why  is  the  double  mordent  Hmited  to  the  lower  form? 

17.  Wherein  is  the  slide  similar  to  the  mordent? 

18.  Express  the  following  in  exact  notation.    The  passage  must  be 
understood  to  belong  to  the  time  of  Bach. 


1 

1 — ^ 

 • 

gl_4_4  

 •n 

-=t=: 

19.  Rewrite  the  above  passage,  substituting  the  customary  symbols 
for  the  older  indications. 

20.  Express  the  following  in  exact  notation.  (N.  B.  The  student 
must  be  prepared,  as  heretofore;  to  execute  each  passage  on 
the  Pianoforte.) 


A.  AlUgretto. 


Handel. 


\.  Allegro. 


[bid. 


r 


C.  Adagio. 


Ibid. 


D.  Allegro. 


Bach. 


E.  Allegro. 


bid. 


F.  Andante. 


Ibid 


r  f 


G.  Allegro. 


Ibid. 


H.  Adagio. 


Ibid. 


^  f- 


f 


I.  Allegro. 


Haydn. 


J.  Allegro. 


Ibid. 


K.  Allegro. 


Section  IV. 

Ibid.  L.  AlUgro. 


103 

Ibid. 


M.  Allegro. 


Mozart. 


-4  m  • 


— 8- 


N.  Allegro. 


I  1 


O.  Grazioso. 


Beethoven. 


g         »  i  ,^^^-^-9^9  9—9  9  #— ^— 


p.  Allegretto. 


Ibid. 


21. 


Express  the  following  in  exact  notation. 

A.    Andante.  Handel. 


Bach. 

B.    Andante.  r**^^ 

 ^-i^^S- 


7  R 


I04 


C.  Andante 


Section  IV. 

Ibid.  D.  Allegro. 


Ibid. 


E.  Allegretto. 


Ibid. 


F.  Lar ghetto.       .  Haydn. 


G.  Moderato. 


Ibid. 


H. 


Mozart. 


Mm 


Presto. 


Ibid. 


J.  Andante. 

-yr— ;4J— ^ 


Ibid. 


r 


Sec.  V.   The  Nachschlag.  105 


SECTION  V 

The  Nachschlag,  &lc. 

1.  The  Nachschlag  differs  from  all  other  graces  in  that  it 
occurs  at  the  close  of  its  principal  sound.  Hence  its  name;  i.  e. 
afte7'-beaU  No  better  description  of  the  ornament  than  a  simple 
translation  of  the  German  term  —  after-beat  or  after- sound — having 
been  devised,  the  word  Nachschlag  is  almost  invariably  used  in 
England. 

2.  The  nature  of  the  Nachschlag  can  most  clearly  be  illustrated 
by  an  example  in  which  the  ornament  appears  in  exact  notation. 
Thus,  the  demisemiquavers  in  Ex.  i  (A)  are  Nachschlage.  Although 
they  lead  in  each  case  to  the  following  sound,  they  proceed  essen- 
tially from  the  previous  sound  and  are,  therefore,  in  the  strictest 
sense,  ^//^r- sounds.  This  will  be  more  apparent  if  they  are  ex- 
pressed as  short  appoggiature  to  the  following  sounds  (B).  They 
are  now  decorative  in  respect  to  these  latter  sounds  and,  in  no  case, 
bear  reference  to  the  previous  sound. 


Haydn.    Sonata  in  A.    ist  mov. 


io6 


Sec.  V.    The  Nachschlagf  in  older  music. 


3.  it  is  evident;  that;  decorative  sounds  of  the  kind  illu.^trated 
by  Ex.  I  (A)  must  have  occurred  in  music  from  the  first  introduc- 
tion of  the  flor'd  element  into  the  art.  Nevertheless;  the  Nach- 
schlag  was  not  originally  regarded  as  worthy  of  a  place  in  the 
repertory  of  standard  embellishments.  Up  to  the  time  of  Bach;  it 
was  tolerated  as  a  species  of  ''passing  appoggiatura"  and  it  is  not 
difficult  to  perceive  the  reason.  The  ornament  itself  provided  no 
base  for  the  operation  of  accent.  HencC;  the  element  which  played 
so  important  a  part  in  the  other  graces  and;  in  fact;  was  often  the 
actual  reason  of  their  employment,  appeared  only  with  the  following 
sound.  It  naturally  follows,  that,  Bach's  use  of  the  Nachschlag  — 
as  an  indicated  grace  —  is  not  extensive.  It  is,  however;  found  occa- 
sionally as  such  in  his  works,  from  one  of  which  Ex.  2  is  quoted. 

Bach.    Aria  variata  in  A  min. 


Ex.  2 


4.  The  following  passage  from  Handel  (Suite  in  G  min.  2"^ 
mov.)  contains  a  Nachschlag  contrasted  with  an  appoggiatura.  The 
exact  function  of  the  former  could  not  be  more  clearly  demon- 
strated. 


Ex.  3. 


5.  In  old  music,  the  Nachschlag  was  indicated  by  the  sign  A 
or  V  signifying  respectively  the  sound  above  or  below  the  principal 
sound.  (Ex.  4.  A.)  Occasionally,  by  a  small  note,  the  hook  or  hooks 
of  which  were  turned  towards  the  principal  note.  (B.)  Lastly,  by 
a  short  curve  in  the  direction  of  the  ornament  itself  (C ) 
A. 


Ex.  4. 


Sec.  V.   The  Nachschlag-  in  modern  music. 


107 


Adagio. 


Bach.    Choral  for  Organ.    "AUein  Gott". 


-^tH  h-i^  h 


6.  The  Nachschlag  plays  an  important  part  in  modern  music. 
As  in  older  music,  the  ornament;  in  the  vast  majority  of  cases,  is 
written  in  exact  notation.  Some  composers,  however,  adopt  the  prac- 
tice of  indicating  the  grace  by  a  short  untimed  note  and  thereby 
secure  for  it  a  slight  degree  of  executive  latitude.  Very  frequently, 
indeed,  its  indefinite  time-position  enables  the  performer  to  invest 
the  ornament  with  a  freedom  and  charm  almost  unattainable  when 
it  is  represented  in  strict  time-value.    Ex.  5  is  an  instance. 


Schumann.    Albumblatter  Op.  99  No.  4. 


Ex.  5. 
(0 


7.  A  distinction  is  made  by  some  editors  between  Nachschlage 
which  are  required  to  be  played  rapidly  and  those  in  which  the 
latitude  described  in  par.  6  is  the  main  desideratum.  The  latter  are 
then  indicated  as  in  Ex.  5,  i.  e.  by  a  small  note  without  the  cross- 
stroke;  the  former,  as  in  Ex.  6,  i.  e.  by  a  small  note  with  the  cross- 
stroke. 

Lmio.     Schumann.    "Warum?"   Op.  12  No.  3. 


Ex  6. 


I 


8.  The  similarity  between  the  method  of  expressing  the  Nach- 
schlag and  that  of  indicating  the  appoggiatura  and  acciaccatura  some- 
times leads  to  misunderstanding.  This  is  of  course  prevented  when 
the  grace  note  occurs  before  a  bar-line  (Ex.  6).    When  a  bar-line 


(I)  It  will  be  observed  that  the  Nachschlag  appears  here  in  the  form  of  an 
anticipation.  (Cf.  Glossary  Art.  Anticipation.)  This  fact  differentiates  the  grace  from 
the  Nachschlag  in  Ex.  2.  Nevertheless,  such  an  anticipation  should  be  distinguished 
from  that  introduced  for  the  sole  purpose  of  reinforcing  an  accented  sound  or  chord. 
(Cf.  the  initial  chords  of  the  Vivace  alia  Marcia  of  Beethoven's  Sonata  in  E.  Op.  loi). 
A  sound  may  be  so  anticipated,  that,  the  effect  of  the  anticipation  is  wholly  subject- 
ive, no  reinforcement  of  accentual  effect  being  in  evidence.  Such  is  the  case  in 
Ex.  5,  the  anticipating  sound  virtually  proceeding  from  the  previous  melodic  sound 
and  therefore  yielding  the  effect  of  a  true  "after-sound". 


io8 


Sect.  V.    The  Nachschlag-  in  modern  music. 


is  unavailable;  the  only  certain  method  of  preventing  confusion  is 
by  employing  a  curved  line  to  connect  the  Nachschlag  to  its  principal 
sound,  h  is  to  be  regretted,  that,  though  the  device  is  at  least  as 
old  as  Bach,  it  has  not  been  universally  adopted  by  modern  editors. 
It  is  seldom,  however,  that  real  difficulty  is  experienced  in  differen- 
tiating the  Nachschlag  from  its  antitheses  the  appoggiatura  and 
acciaccatura.  The  nature  of  the  passage,  the  melodic  and  rhyth- 
mic outline,  to  mention  no  other  indications,  are  generally  sure 
guides.  Thus,  in  Ex.  7,  the  anticipatory  character  of  the  ornament 
is  in  this  particular  case  —  having  regard  to  the  tempo  and  style  of 
the  movement  —  sufficiently  suggestive.  (Cf.  Footnote,  pag.  107.) 
In  Ex.  8,  the  ornament  at  sf:  may  be  compared  with  others  of  a  similar 
kind  in  the  same  work  and  its  execution  as  a  Nachschlag  clearly 
deduced. 

Lento.  Chopin.    Nocturne,  Op.  32  No.  2. 

J  J  


Ex.  7. 


1 


Lento. 


Schumann.  "Warum?" 


1 

Mr— r-^ 

9.  The  anticipatory  bass-sounds  so  often  used  in  modern 
Pianoforte  music  must  not  be  confused  with  the  Nachschlag.  Those 
in  Ex.  9,  for  instance,  are  introduced  for  harmonic  purposes  alone 
and,  being  continued  in  sound  by  the  use  of  the  pedal,  serve  but 
to  reinforce  the  primary  harmony  of  the  bar. 

Prestissimo.  Schumann.  Carnaval. 


Ex.  9. 


ID.  The  term  Nachschlag  is  also  used  in  Germany  to  denote 
the  use  of  the  lower  auxiliary  sound  at  the  conclusion  of  a  shake. 
It  is  contended,  that,  the  concluding  sounds  of  the  shake  do  not 
form  a  turn  in  the  strict  sense  of  the  word,  since  two  of  them 
coincide  with  the  final  beat  of  the  shake.    The  new  auxiliary  taken 


Sec.  V.    The  Fioritura. 


109 


before  the  final  sound  is,  therefore,  the  only  sound  for  which  a 
special  nomenclature  is  considered  to  be  necessary  and  it  is  to  this 
sound  that  the  term  Nachschlag  is  given.  The  two  nomenclatures  are 
given  in  Ex.  10. 

Triller.  Nachschlag.      German  terms. 


Shake.  Turn.  English  terms. 


II.    The  Nachschlag  sometimes  occurs  in  double  form.  (Ex.  11.) 

Chopin.    Nocturne  Op.  72  No  I. 


Ex.  II. 


I: 


a 

1  

12.  The  principle  of  the  Nachschlas^  is  often  extended  to 
groups  of  sounds  of  indefinite  number.  The  following  fioriture(i) 
from  Chopin  are  of  this  kind. 

Approximate  execution. 

Larghetto.    Nocturne  Op.  15  No.  2. 


Ex.  12. 


1 

Nocturne  Op.  32  No.  2. 


Lento, 


Ex.  13.  ^ 


^^4 


Approximate  execution. 


13.  Closely  allied  to  the  passages  just  quoted,  is  the  free 
fioritura  which  connects  two  main  sounds  of  a  melody.  Ornaments 
of  this  kind  are  represented  in  small  notes  outside  the  normal  lime- 


(I)  Plural  of  fioritura  (It.)  =  a  flowering  (lit.),  used  to  describe  a  melodic  pro- 
gression of  florid  character. 


no 


Sec.  V.    The  Cadonza  and  tho  Bdiiincr. 


measuren^.cnt ;  or,  in  small  notes  which,  for  the  time  being,  displ?irf. 


the  normal  time-measurement  (Ex.  14 


or.  1 


n  exact  notation.  (Ex. 


5J 


(n  all  such  cases,  their  execution  demands  grace  and  freedom 
coiubiiicd  with  an  accurate  sense  of  rhythmic  proportion. 

Chopin.     Nocturne  Op.  37  ^'o.  I. 


1 

1  

•  

* 

— •  

"5" 

r 


Chopin.    Nocturne  Op.  9  No.  I. 


Ex.  iv 


J 

-1 

•-7. 

 6- — ^  i — — 

fef  ^  7  4 —  

0 

J 

2  ^ 

0— 

til 

I*" 

14,  A  fioritura  sometimes  occurs  after  a  pause  when  it  is 
technically  known  by  its  Italian  mime  —  Cadenza.  The  cadenza  often 
possesses  great  harmonic  as  well  as  decorative  significance.  Such 
is  the  cadenza  pertaining  to  the  Concerto.  It  is  as  frequently  limited 
to  a  single  fioritura  of  short  dimensions.  Such  is  the  cadenza  in 
Ex.  16. 

Beethoven.    Sonata  Op.  31  No.  I.     l^^  mov. 


(/ 

.  0 

•         '  •  '  ' 

»  -  # 

S5S 

 <>' 

■  r 

.  0 ' 

15.  The  resuscitation  of  the  old  grace  known  as  the  Bebung 
(Ger.),  though  sufficiently  rare,  is  a  marked  feature  in  those  cases 
where  it  appears  in  modern  Pianoforte  music.  The  original  Bebung 
consisted  of  a  slight  but  intermittent  pressure  applied  to  the  key  of 


See.  V.    The  Broken  Chord. 


the  clavichord,  whereby  the  string  remained  in  a  condition  of  faint 
vibration.  A  somewhat  analogous  effect  is  obtained  upon  the  Piano- 
forte by  the  delicate  and  legato  repercussion  of  the  key.  Such,  for 
example,  is  the  method  of  execution  required  for  Ex.  17. 


Beethoven.    Sonata  Op.  I  lO.     3'''^  niov. 


1 6.  The  broken  chord  should,  strictly  speaking,  be  classed 
with  musical  embellishments.  But  the  arpeggio,  with  its  natural 
concomitant  the  chord  played  arpeggiando,  forms  so  prominent  a 
feature  in  modern  music  that,  from  being  an  exceptional  form  of 
decoration,  it  has  passed  into  a  necessity  of  musical  presentation. 
Nevertheless,  many  instances  occur  in  which  a  broken  chord  forms 
an  essential  part  of  melodic  decorativeness  and,  in  such  cases,  its 
claim  to  be  considered  as  a  regular  embellishment  is  entirely 
logical.    (Ex.  1 8.) 

Chopin.    Nocturne  Op.  37  No.  1. 


P 


1  1  2 


Section  V. 


Questions  and  Exercises  on  Section  V. 

1.  Explain  tlie  term  "after-beat"  or  "after-sound". 

2.  Distinguish  between  the  ornaments  of  the  following  passage. 


• 

— 

T3 

3.  From  what  cause   arose  the  original  hestitation  to  regard  the 
Nachschlag  as  a  standard  grace? 

4.  How  did  it  come  about  that;  in  more  modern  times,  the  Nach- 
schlag became  a  recognized  form  of  musical  grace? 

5.  Express  the  following  in  exact  notation. 


6.  Name  a  possible  advantage  in  the  untimed  indication  of  the 
Nachschlag. 

7.  What  is  the  correct  way  of  writing  the  Nachschlag  when  it  is 
not  indicated  in  exact  notation?  How,  for  instance,  may  mis- 
apprehension as  to  the  precise  species  of  ornament  required  be 
prevented? 

8.  Give  the  German  t  erminology  applied  to  the  terminating  sounds 
of  the  shake  and  show  wherein  it  differs  from  the  English. 

9.  Explain  why  the  untimed  portion  of  the  following  passage  is 
similar  in  principle  to  the  Nachschlag. 


TO.  How  is  the  word  fioritura  applied  to  musical  ornamentation? 


Section  V. 


ti3 


11.  When  may  a  cadenza  be  strictly  regarded  as  a  form  of  musical 
embellishment? 

12.  Express  —  as  far  as  possible — ,   in  exact  notation,  the  execu- 
tion of  the  following  Nachschlage  and  other  ornaments. 


A.    Adagio,  Handel. 


B.  Andante. 

tr 


Bach. 


.  .  .  TZZJ  ?ZZ^ 


4=i=t 


C.  Andante. 


Ibid. 


D.  Andante, 


1^    fcT  L  LJ 


Cw 


Ibid. 


E.  Adagio. 
8va  - 


9^1  3  J 


HI 


Ji 


Haydn. 

5. 


ij    1  I  ! 


Beethoven. 


G. 


Chopin. 


I— r 


3*-).- 


1  ^ 


r 


r 


Ernest  Fowles,  Smdiea  in  Musical  Graces. 


114 


Sec.  VI.    Combined  Graces. 


SECTION  VI. 

Combined  Graces. 

I.  The  ornaments  heretofore  described  occasionally  appear  in 
close  melodic  juxtaposition  or  in  simultaneous  combination.  The 
symbolic  indication  of  graces  —  employed  in  this  manner  —  is 
peculiar  to  older  music.  The  occurrence  of  their  later  prototypes  in 
modern  music  is  invariably  accompanied  by  the  expression  of  the 
melodic  figures  they  embody  in  exact  notation. 


2.  The  most  significant  combinations  are  those  in  which  the 
appoggiatura  is  concerned.  Ex.  i  illustrates  the  combination  of  the 
appoggiatura  and  the  turn. 


Andante. 

H 

aydn.  5 

Sonata  in 

C.    I  St  mov. 

1- 

3.  In  Ex.  2;  the  appoggiatura  is  prefatory  to  a  shake.  In 
such  cases,  the  appoggiatura  is  more  frequently  expressed  in  exact 
notation.    (Ex.  3.) 


Ibid.    Sonata  in  C mm.    2nd  mov. 


4.  In  the  time  of  Bach,  the  following  signs  were  employed  to 
indicate  the  combination  of  the  appoggiatura  and  shake  O^^',  ^^tr, 

or  Iaw.  In  modern  editions,  it  is  more  usual  to  find  the  sym- 
bols relating  to  the  respective  ornaments  as  in  Ex.  4- 


Sec.  VI.    Combined  Grnnes. 


115 


Ex.  4.  W-^t 


Bach.    French  Suite  No.  II  (Sarabande) 


5.  The  small  note  which  indicates  the  appoggiatura  in  Ex.  4 
must  be  distinguished  from  the  almost  similar  note  in  Ex.  5.  In  the 
latter  case,  it  is  expressed  after  the  manner  of  an  acciaccatura  and 
merely  signifies  that  the  shake  is  to  start  upon  the  auxiliary  sound. 
(Vide  Sec.  Ill,  par.  29.) 

Mozart.    Sonata  in  F.     ist  niov, 

Ex.  5- 


6.  The  appoggiatura  combined  with  the  mordent  frequently 
occurs  in  the  works  of  Bach.    (Exs.  6  and  7.) 

Partita  No.  V  (Allemande). 


Ex.  6. 


^^^^ 


Ex.  7. 


French  Suite  No.  V  (Sarabande). 


7.  If;,  however,  the  appoggiatura  occur  upon  the  previous 
time-beat;  the  rendering  is  as  in  Ex.  8. 

Bach.    French  Suite  No.  VI  (Sarabande). 


mm 


8* 


ii6 


Sec.  VL    Combined  Graces. 


8.  When  the  appoggiatura  is  preceded  by  the  Nachschlag,  the 
latter  is  usually  expressed  in  exact  notation.  (Ex.  9).  Per  contra, 
vide  Ex.  3  Sec.  V. 

Haydn.    Sonata  in  D.    2"^^  mov. 


Ex.  9. 


4-  f  7      1- — f—^-^ 


1^ 


9.  The  shake  is  sometimes  preceded  by  the  double  appoggia- 
tura. The  latter  is  then  executed  in  the  same  manner  as  the  pre- 
fixes described  in  Sec.  III.  par.  8  et  seq.  (Ex.  10.) 


Bach.    French  Suite  No.  Ill  (Sarabande.) 


-H-p-J  ^  J 

<v     #     -      »  - 

10.  The  symbols  which  respectively  indicate  the  turn  and  the 
mordent  appear  side  by  side,  as  in  Ex.  11,  or  one  above  the  other 
Jis  in  Ex.  12. 


Bach.    Three-part  Invention  No.  V. 


Mozart.    Sonata  in  F.     2"d  mov. 


II.  The  double  symbol  ^  has  given  occasion  to  much  mis- 
apprehension. It  is  evident  that  the  turn  of  five  sounds  offers  the 
only  satisfactor}^  solution  of  Ex.  12  and  the  same  may  be  observed 
of  Ex.  13.    In  the  latter  case,  it  is  highly  probable,  that,  the  com- 


Sec.  VI.    Combined  Grraces. 


poser  used  the  double  sign  to  point  out  the  exceptional  character 
of  the  grace.  Preceded  by  a  sound  of  the  same  pitch  as  the  prin- 
cipal sound,  the  normal  turn  would  commence  upon  the  upper 
auxiliary. 

Haydn.    Sonata  in  Cmin.     i^*^  mov. 


Ex.  13. 


12.  In  the  music  of  Bach  and  his  contemporaries,  it  is  not 
uncommon  to  meet  with  ornaments  simultaneously  combined.  Thus, 
in  Ex.  14,  a  shake  appears  in  the  part  assigned  to  the  right  hand, 
a  mordent  in  that  assigned  to  the  left;  in  Ex.  15,  an  appoggiatura 
and  a  mordent  are  similarly  cornbined. 

Little  Prelude  No.  XI. 

6 


Ex.  14. 


Ex. 


m 


I 

1 

CO)  ^  ^tf|  

• 

V 

•    #  - 

— —\/ — 

3 


1^ 


13.  The  Nachschlage  in  Ex.  16  form  terminating  sounds  to  the 
respective  shakes. 

Ex.  16.  Mozart.    Sonata  in  D.    2nd  mov- 


ii8 


Sec.  VI.    Combined  Graces. 


14.  When  an  iintinied  note  occurs  before  the  lowest  sound  of 
a  broken  chord,  it  is  played  as  a  Nachschlag,  the  first  sound  of  the 
chord  falling  upon  the  beat.    (Ex.  17.)    (Cf.  Ex.  18.  Sec.  V.) 


Ex.  17.  Chopin.    Nocturne.    Op.  37  No.  I. 


Exercises  on  Section  VL 


Express^  in  exact  notation,  the  rendering  of  the  following  graces, 
A.    Allegretto.  Handel. 


B.  Adii'Ao. 


Ibid. 


r 


Ibid. 


D.  Andanfe. 


Bach. 


r^tgr^  ^^^^ 


X         E.  Andante, 


Section  VI. 

Ibid.  F.  Andante. 


I  19 

Ibid. 


G.  Andante. 


Ibid. 


H.  Maestoso. 


Ibid. 


I.  Adagio. 


Ibid. 


J.    Andante.  Ibid. 


K.  Andantino. 


Ibid. 


L.    TV////^?  Menuetto. 


Haydn. 


M.     Tempo  di  Menuetto.  ^ 


Ibid. 


N.  Andante. 


Ibid. 


C\5 

^^^^ 


O.    Allegro  moderato. 


Ibid. 


I20 


KSection  VI. 


P.    AUtgro  moderato. 


Ibid. 


Jr 

 • 

0  m 

1  1 

Q.    Andante.  Mozart. 


Sec.  VII.    Vocal  Uraces. 


121 


SECTION  VII. 

Graces  in  Vocal  Music. 

1.  The  musical  grace  may  be  regarded  as  the  offspring  of  the 
mediaeval  contra piuictus  a  menteii).  The  practice  of  this  invigora- 
ting form  of  musical  exercise  taught  its  exponent,  that,  the  introduc- 
tion of  foreign  sounds  did  not  necessarily  invalidate  the  integrity  of 
a  melodic  ouciine;  rather,  did  it  show  him,  that,  their  careful  employ- 
ment conduced  to  musical  interest  and  melodic  efficiency.  The  use 
thus  made  of  auxiliary  sounds  -  sounds  in  the  highest  degree  deco- 
rative —  foreshadowed  the  appearance  ol  Diminution  or  Division  (2) 
which  coloured  the  music  of  the  earliest  instrumental  composers  and 
performers.  The  grace  therefore  ^omes  down  to  us  from  a  vocal 
source.  It  was  reserved  for  instrumental  music,  however,  to  give  it 
form  and  significance.  The  preeminence  thus  secured  by  this  side 
of  executive  music  has  never  been  forfeited,  and  the  singer  who 
wishes  to  understand  the  graces  introduced  —  sometimes  sparingly, 
sometimes  plentifully — into  vocal  music,  can  pursue  no  more  helpful 
plan  than  the  study  of  the  analogous  instrumental  devices  described 
in  the  previous  Sections  of  this  book. 

2.  It  is  almost  unnecessary  to  observe,  that,  for  vocal  purposes, 
some  ornaments  are  less  serviceable  than  their  corresponding  instru- 
mental forms;  conversely,  that,  a  brilliant  shake  or  well-executed 
cadenza  is  never  more  effective  than  when  it  occurs  in  vocal  music 
and  under  appropriate  contextual  conditions.  Some  ornaments  are 
indeed  supremely  vocal,  lending  themselves  easily  to  the  inflection 
of  the  voice  as  well  as  to  the  musical  significance  or  dramatic 
interest  of  the  moment.  Of  the  appoggiatura ,  for  example,  all  this 
may  readily  be  said.  In  the  words  of  the  singing  master  P.  F.  Tosi 
(1647 — 1727)  —  ''Among  all  the  Embellishments  in  the  Art  of 
Singing,  there  is  none  so  easy  for  the  Master  to  teach,  or  less  dif- 
ficult for  the  Scholar  to  learn,  than  the  Appoggiatura.  This,  besides 
its  Beauty,  has  obtained  the  sole  Privilege  of  being  heard  often  with- 
out tiring,  provided  it  does  not  go  beyond  the  Limits  prescribed  by 
Professors  of  good  Taste." 


(1)  i.  e.  improvised  Counterpoint. 

(2)  This  term  comprises  the  earliest  examples  of  florid  instrumental  elaboration. 
(Vide  Art.  Division.  Glossary.) 


i22 


Sec.  Vn.    The  Appog-g-iatura  in  vocal  music. 


3.    Ex.  I  illustrates  the  appoggiatura  in  exact  notation.  That 

Mozart.     Der  Silfe  d«s  Friedens. 


Ex.  1 


^      ^      ^  ^  t 


it  was  often  thus  expressed  by  Mozart  is  clear  from  the  many  similar 
instances  of  its  employment  in  his  instrumental  music.  On  the  other 
hand,  the  use  of  the  small  untimed  note  (Sec.  I  par.  3)  frequently 
occurs  in  his  vocal  works.  Ex.  2  may  be  compared  with  Ex.  7  Sec.  I 


Ex. 


Mozart.    Don  Giovanni.    Act  II.    No.  23. 


A 

^^^^ 

— 

1 — 

ven   -    di  -  car 

^    ^  J 

—-ca  ' 

io 

 m  1 

1  1 
va  -  do. 

f\ — 

r  r 

'  »  t  »  t 

-  -  r  r 

r  r 

, — J — 

-11  c_r__j 

 m  

•  P 

r 

4.  A  short  appoggiatura  upon  a  long  principal  sound  is  of  fre- 
quent occurrence  in  vocal  music.  No  adequate  rule  to  regulate  perfor- 
mance can  be  given  in  cases  of  this  kind.  The  character  of  the  passage^ 
the  nature  of  the  word  or  syllable,  the  form  of  the  instrumental  accom- 
paniment; all  these  combine  to  indicate  the  intention  of  the  composer 
and  the  scope  open  to  the  singer.  The  execution  of  the  appoggiatura 
in  Ex.  3,  for  instance,  is  defined  by  the  accompaniment;  that  in  Ex.  4 
by  the  nature  of  the  passage  in  which  it  occurs. 

Ibid.    Act  II.    No.  27. 


Ex.  3. 


Sec.  Vil.    The  Appoggiatura  in  vocal  music.  12.3 


Kx.  ^.  Ibid.    Act  I.    No.  14. 


5.  A  cadential  appoggiatura  is  usually  executed  a  suo  arbitrio. 
Such  an  appoggiatura  is  of  a  particularly  vocal  character.  (Ex.  s.") 

Haydn.    Creation.    No.  3. 


Ex.  5. 


^ — # 

-1  

be  -  fore  the 

ho 

-     -     -  ly 

beams, 

-  1 

t 

r 

Ex.  6  contains  intermediate  appoggiatura  of  similar  type. 


Recit.         _J  i_  _J  J—   Ibid.    No.  ^o. 


Ex.  6. 


1 

^^^^^ 

my 

help, 

my 

shield,  my 
^  1 

all! 

thy 

will 

-  1,^  <^  — J 

L^<gi  

L__g^  

,5 

•6h 

6.  One  method  of  indicating  the  appoggiatura,  extremely  common 
in  older  music,  is  entirely  confined  to  vocal  music.  When  two  suc- 
cessive sounds  of  the  same  pitch,  employed  cadentially,  occur  in  a 
recitative,  an  upper  appoggiatura  is  substituted  for  the  first.  (Ex.  7.) 


124 


Sec.  VII.    The  Acciaccatura  in  vocal  music. 


Ex.  7. 


Recit.  Ibic 
-0  g  ^  

.    No.  ro. 

prais  -  ing  God,  and 

L_i^  ^ — 

say  -  ing: 

1^ 


and 


say  -  ing: 


The  rule  is  followed  when  three  successive  sounds  are  similarly 
employed.  In  the  latter  case,  however,  the  appoggiatura  usually 
receives  a  little  more  than  the  value  assigned  to  the  written  note. 
(Ex.  8.) 


Ex^  8. 


Bach. 


— — ^— 

[  ^  

they    re  -  joic  -  ed      ex  -  ceed  -  ing  -  ly. 


ex  -  ceed  -  ing  .  ly. 


7.  The  acciaccatwa  is  found  in  vocal  music.  The  singer  especial- 
ly should  be  careful  not  to  confuse  the  acciaccatura  with  the  shorter 
forms  of  the  appoggiatura.  It  has  been  already  observed,  that,  at 
one  period,  the  diagonal  stroke  had  but  an  uncertain  significance. 
(Vide  Sec.  I  par.  26.)  No  hesitation  however  need  occur  in  such  cases 
as  Ex.  9  which  should  be  compared  with  Exs.  37  and  38,  Sec.  I;  nor 
in  the  case  of  Ex.  10  which  contains  an  acciaccatura  indicated  after 


Verdi.    Ernani.    Part  I,    Sc.  7. 
•k-  *  •  -  » ,         '"^     !     1     h  4- 

Ah! 

1  1     1  ir — j 

^-^^ 

the  manner  of  an  appoggiatura,  but,  as  regards  musical  significance,  is 
precisely  similar  to  Ex.  9. 


^  ibi 


d.    Sc.  II. 


La       CO  -  Stan 


Sec.  Vn.    The  Turn  in  vocal  music. 


125 


8.  The  lurn  is  peculiarly  effective  in  vocal  music.  The  singer 
should  observe  particularly  that  phase  of  the  ornament  described  in 
Sec.  II  par.  44.  It  is  true,  that;  as  in  the  case  of  the  inverted  turn 
in  Ex.  II,  it  is  occasionally  introduced  for  a  climatic  purpose  but,  in 


Ex.  II. 


Wagner.    Die  Meistersinger.    Act  I.    Sc.  2. 


Beim   Dich    -    ten      mit      Draht  und  Pfriem! 


I 


vocal  music  generally,  the  turn  embodies  charm  and  gracefulness  of 
melodic  movement.  It  is  thus  employed  in  Ex.  12,  which  will  be 
recognized  as  an  example  of  the  chromatic  turn  (Sec.  II  par.  5)  and 
in  Ex.  13  which  should  be  compared  with  Sec.  II  par.  29. 


Ex.  12. 


Verdi.    Ernani.    Part  I.    No.  3. 
Andante.  Adagio. 


i  I  I  I  I  I  I  I  p 


ah!    —    —  — 


Ex.  13. 


Beethoven.    Mit  einem  gemalten  Band. 


1 


mit        Ro  -   sen  sich 


um  -  ge    -  ben, 

,  TO- 


T  ^     p   ^  9   ^  "V*/   P         p   •i  p  ^1 


sich 


126 


Sec.  VII.    The  Turn  in  vocal  music. 


9.  The  time-position  of  the  sounds  which  form  a  turn  is  some- 
times of  importance  to  the  musical  thought  involved.  In  such  cases, 
the  composer  usually  guards  against  misinterpretation  by  expressing 
the  grace  in  exact  notation.    (Ex.  14.) 

Mozart.  Abendempfindung. 


Ex.  14. 


10.  The  symbolic  indication  of  the  turn  is  less  usual  in  vocal 
music.  It  occurs,  however,  in  music  of  every  period.  Ex.  15  is  from 
Haydn;  Ex.  16,  from  Schubert.  In  all  cases  of  the  kind,  and  in  view 
of  accurate  performance,  reference  should  be  made  to  analogous 
examples  in  instrumental  music. 

Ex.  15.  Canzonet.    No.  8. 


P 


m 


when  the   moon      faint  -  ly 


beam  -  ing 


Ex.  16. 


Himmelsfunken. 


des  Him 


mels  Thau 


II.  The  vocal  turn  is  occasionally  indicated  in  an  ambiguous 
manner.  This  usually  occurs  when  a  change  of  syllable  is  made 
during  the  progress  of  the  ornament.    All  doubt  would  of  course  be 


Sec.  VU.    The  Shake  in  vocal  music. 


127 


removed,  were  such  passages  invariably  expressed  in  exact  notation. 
In  Ex.17,  for  instance,  a  syllable  is  required  for  the  last  sound  of 
the  turn.  The  composer  has  employed  the  symbol  to  indicate  the 
first  two  sounds  of  the  ornament  alone,  the  last  two  occurring  in 
the  text. 


Ex.  17.    Schumann.    Aus  den  ostlichen  Rosen, 


— ^-  

-sanft  riihi 


er  nicht! 


12.  The  culture  of  the  s/iake  is  of  extreme  importance  to  every 
singer  who  desires  to  attain  a  high  degree  of  efficiency.  Many  phases 
of  the  ornament  existed  in  the  17*^  and  iS^''  centuries  and  contributed 
to  the  embellishment  of  the  vocal  melodies  of  that  period.  In  more 
modern  times,  the  indication  and  performance  of  the  vocal  shake  have 
practically  come  to  approximate  to  the  instrumental  prototype.  When 
a  difference  exists,  it  is  generally  due,  either  to  vocal  limitations  or 
to  the  special  and  personal  achievement  of  a  particular  singer.  A  long 
shake,  for  instance,  is  not  infrequently  executed  in  gradually  quicken- 
ing beats.  (Vide  footnote  to  par.  36  Sec.  III.)  Again,  the  vocal  shake 
requires  to  be  taken  in  one  breath.  Consequently,  the  long-continued 
instrumental  shake,  executed  without  a  break,  is  impracticable  to  the 
vocahst.  A  further  point  of  difference  is  more  apparent  than  real, 
viz.  in  the  speed  of  the  ornament  or,  in  other  w^ords,  the  number  of 
its  beats.  As  we  have  already  observed  —  the  effectiveness  of  a  shake 
is  in  direct  proportion  to  the  frequency  of  the  beats.  (Sec.  Ill  par.  61.) 
This  axiom  may  be  held  to  refer  particularly  to  those  shakes  which 
occur  in  the  medium  and  upper  registers  of  the  musical  compass. 
There  is,  however,  a  limit  —  a  hmit  not  easily  definable  but  which 
varies  with  the  type  of  voice  as  well  as  with  the  species  of  instru- 
ment—  below  the  pitch  of  which  the  rule  is  practically  inoperative. 
It  must  be  remembered,  that,  as  the  vibrational  numbers  of  musical 
sounds  decrease,  the  sounds  themselves  tend  to  become  less  instan- 
taneously perceptible  to  the  ear;  further,  that  this  acoustical  property 
may  even  be  intensified  by  a  certain  type  of  quality  in  the  tone  pro- 
duced. Consequently,  we  are  thrown  back  upon  the  assumption,  that, 
the  speed  of  a  vocal  shake  below  the  limit  just  referred  to,  must 
depend  upon  the  tone-quality  of  the  singer  as  well  as  upon  the  actual 


I2B 


Sec.  VII.    The  Shake  in  vocal  music. 


pitch  of  the  ornament.  The  execution  of  a  low  bass  shake  at  the 
same  speed  as  that  generally  assigned  to  a  high  soprano  shake  would 
result  in  a  grotesque  mingling  of  two  sounds,  both  of  which  would 
lose  their  identity. 

13.  Almost  every  form  of  the  modern  shake  is  found  in  vocal 
music.    Ex.  18  is  the  "passing  shake"  (Sec.  Ill  par.  48);  Ex.  19  is 

Haydn.    Creation.    No.  16. 


Ex.  18. 


calls  th( 


dove 


a  shake  upon  a  dotted  note  with  the  termination  expressed  in  exact 
notation.    (Cf.  Ex.  22  Sec.  III.) 


Ex.  19, 


Handel.    Judas  Maccabaeus.    "How  vain  is  man". 

tr       ^  _  ^• 


i 


The    va  -  lour   of    gi  -  gan 


I 


Ex.  20  illustrates  the  indication  of  the  concluding"  turn  by  untimed 
notes.    (Cf.  Sec.  Ill  par.  37.) 

Wagner.    Die  Meistersinger.    Act  I.   Sc.  3. 
^     f<     -f-  3      ^  £  ^  % 


Ex 


Mei  -  star 


preis ! 


Ex.  21  contains  an  embellished  termination  often  met  with  in 
music  of  the  kind,  the  sounds  of  which  are  invariably  understood 
to  be  taken  a  suo  comniodo. 


Verdi.    Ernani.    Pait  I.  Sc.  4. 

tr 


mu  -  tar, 


ah! 


Vo  -  la,  » 


Sec.  Vll.   The  Mordent  and  the  Slide  in  vocal  music.  129 


14.  The  lozver  mordent  is  essentially  an  instrumental  grace. 
The  upper  mordent,  however,  is  not  uncommon  althou^^h,  in  the 
majority  of  cases,  it  approximates  rather  to  the  ''passing  shake"  than 
to  the  more  strident  mordent.  The  sign  for  the  mordent  appears  in 
more  than  one  writer.  Ex.  22  contains  a  true  mordent.  The  same 
may  be  observed  of  Ex.  23.  (N.B.  This  example  should  be  compared 
with  Ex.  17.  In  the  latter  case,  the  ornament  starts  with  the  upper 
accessory  sound;  in  the  former,  with  the  principal  sound.)  In  Ex.24, 
the  grace  is  indicated  by  small  untimed  notes.    (Sec.  IV  par.  J9.) 


Vivo.  Schubert.    An  die  Leyer. 


■—^ — # — b»-^ — ^ 

r  N  

-4-  V  ^-=^^ 

^  ^ 

die 

Ley      *       er       mocht'  ich 

 ::=4  ' 

tau  -  schen, 

Vivace.  Schumann.  AValdesgespriich. 


 <2  

— — •-W — 

i 

Man  -  uer       Trug  und  List, 


Modera!o. 


Schubert.  Alinde. 


Ex.  24. 


Die      Son  -  ne 


ikt     in's       tie  -    fe  !Meer, 


15.  The  slide,  as  a  vocal  grace,  is  often  far  from  ineffective. 
Ex.  25  is  a  familiar  instance  of  its  employment;  in  Ex.  26,  the  speed 


1 


Ex.  25. 


Haydn.    Creation.    "With  verdure  clad". 


Here    fra  -  grant  herbs    their        o-dours  shed; 


of  the  ornament  is  obviously  regulated  by  the  orchestral  part  which 
duplicates  the  sounds. 

Etnest  Fowlea,  Studies  in  Musical  Graces.  ^ 


Sec.  VII.    The  Nachschlag  in  vocal  music. 


Mozart.     Don  Giovanni.    Act  II  No.  20. 


Ex.  26. 


16.  Tlie  singer  should  be  especially  careful  not  to  confuse  the 
slide  with  the  double  nachschlag.  The  latter  is  a  favourite  vocal 
grace  and  the  occurrence  of  two  small  untimed  notes  is,  in  song, 
much  more  frequently  a  nachschlag  than  a  slide.  In  the  vast  majority 
of  instances,  the  ornament  is  expressed  in  exact  notation.    (Ex.  27.) 

Schubert.  Sehnsucht. 


Ex.  27. 


zwischen  dun 


kelm  Laub, 


m 


r 


—    —  p 


In  Ex.  28,  on  the  other  hand,  it  is  indicated  by  small  notes (i)  after  the 
manner  of  Ex.  11  Sec.  V.  Vide  also  Schubert's  song  — ^'Drang  in  die 
Ferne"  bar  31. 

Schubert.    Auf  dem  See. 


Ex.  28. 


frei 


Welt. 


r  1 

17.  No  reference  to  vocal  ornaments  would  be  complete  without 
a  glance  at  the  portamento  di  voce.  (It.)  (Fr.  port  de  voix.)  The 
portamento  may  be  described  as  the  carrying  {p  or  tare  =  to  carry) 
of  the  voice  from  one  sound  to  another,  the  utmost  possible  legato 

(I)  This  particular  ornament,  however,  is  susceptible  of  another  explanation. 
Cf.  Ex.  »7 


Sec.  VII.    The  Portamento  di  voce. 


being  an  indispensable  feature  of  the  device.  The  legato  is  obtained, 
not  only  by  connecting  the  two  sounds  as  in  the  two-sound  slur  of 
Pianoforte  music,  but,  virtually,  by  permitting  the  voice  to  pass 
through  the  various  intervening  shades  of  pitch.  None  of  these  inter- 
mediate sounds  are  definitely  articulated.  The  mental  effect  yielded 
by  the  portamento  is  that  of  a  reaching  for  a  sound,  the  actual  pitch 
of  which  is  in  abeyance  until  it  has  been  attained  by  the  singer.  It 
is  often  introduced  by  the  practised  vocalist,  even  when  it  is  not 
indicated  by  the  composer.  In  Exs.  29  and  30,  it  is  definitely  indi- 
cated, both  by  the  small  untimed  note  as  well  as  by  the  slur  which 
connects  it  to  its  principal  sound. 

Schubert.    Auf  der  Briicke. 


Ex. 


-1 — r 

und 


ch< 


fiihrt  mich 


Schumann.    Lied  der  Braut.    Op.  25.    No.  II. 
ri    -    tar      -      dan      -      do  a  tempo 


Ex.  30. 


— h  -i^- 

-1— 1: — 

en 


wie  erl 


Mut- 


±  I 
—  4 


18.  A  particular  use  of  the  portamento  occasionally  occurs  at 
the  termination  of  a  phrase  when  the  penultimate  sound  is  long  and 
is  separated  from  the  final  sound  by  a  wide  interval.  The  pitch  of 
the  latter  sound  is  reached  before  the  moment  when  it  is  due  and 
a  species  of  anticipation  is  the  result.  (Ex.  31.)  When  an 
Ex.  31. 

Allegro.    Schubert.    Das  Heimweh. 


der  Hir 


ten 


9* 


Sec.  VII.    Vocal  fioritiire. 


intermediate  syllable  is  required,  the  anticipation  is  written  out  in 
fuU.    (Ex.  32.) 

Wagner.    Die  Meistersinger.    Act  III.    Sc.  2. 


Nun    stellt  mir      ei  -  nen     Ab  -  ge  -  sang. 


19.  Examples  of  fioritiire  (Sec.  V  par.  13)  abound  in  florid 
vocal  music.  The  execution  of  such  is  as  free  as  the  corresponding 
types  in  instrumental  music  and,  it  is  needless  to  add,  that,  their 
artistic  rendering  mainly  depends  upon  the  culture,  intelligence  and 
versatility  of  the  singer.  It  would  be  superfluous  to  give  examples 
here,  since  it  is  not  the  object  of  this  Section  to  show  the  student 
how  to  render  abnormal  and  extreme  forms  of  vocal  graces,  but, 
rather,  to  accustom  him,  by  comparison  with  analogous  forms  in 
instrumental  music,  habitually  to  view  the  various  forms  of  standard 
ornamentation  from  the  instrumental  as  well  as  from  the  vocal  stand- 
point. It  is  perhaps  a  temptation  to  the  singer  to  limit  his  study  of 
ornamentation  to  the  elucidation  of  examples  he  may  meet  with  in 
vocal  scores  alone.  It  is  impossible  too  strongly  to  impress  him 
with  the  necessity  of  obtaining  a  comprehensive  grasp  of  what  is 
after  all  a  highly  technical  branch  of  musical  study.  Such  a  grasp 
is  unattainable  unless  the  subject  be  approached  from  every  point  of 
view  open  to  the  student. 


Questions  and  Exercises  on  Section  VIL 

I.  Why  should  the  vocal  student  be  especially  careful  to  stud}^  the 
musical  grace  from  the  instrumental  as  well  as  from  the  vocal 
standpoint? 

2  Mention  the  three  instrumental  graces  which  are  especially  effective 
in  vocal  music. 

3.  Upon  which  type  of  instrument  can  the  performer  most  nearly 
approach  the  effect  produced  by  the  portavicuto  di  voce? 

4.  Mention  some  symbolic  indications  of  ornamentation  which  occur 
less  frequently,  or  not  at  all,  in  vocal  music. 

5.  Why  is  the  rendering  of  the  vocal  appoggiatura  generally  freer 
than  that  of  its  instrumental  protot3^pe? 

6.  Refer  to  Exs.  17  and  23  of  this  Section  and  explain  the  paren- 
thesis in  par.  14.  Why  does  the  one  ornament  start  with  the 
upper  auxiliary  sound  and  the  other  with  the  principal  sound? 


Section  VTT. 


133 


7.  Explain  the  irregular  use  of  the  turn  symbol  described  in  par.  11. 

8.  Describe  a  particular  phase  of  the  appoggiatura  met  with  only 
in  vocal  music. 

9.  In  what  manner  do  the  words  of  song  often  influence  the  exe- 
cution of  a  musical  grace? 

10.  Express  the  graces  which  occur  in  the  following  passages  in 
exact  notation.  The  entire  phrase  in  which  each  grace  occurs 
should  be  included  and  the  note-grouping  should ,  throughout, 
agree  correctly  with  the  syllabic  grouping. 

Mavdn.   Creation.   A.  No.   3,  bar  40. 

B.  „   31,    „  II. 

C.  „   29,    „  20. 

D.  „     „,    „  67. 

E.  „   25,  4^^  bar  from  end. 

„    16,  37^^  and  38^^  bars  from  entry  of  voice. 
Mozart.    Song.    Die  Zufriedenheit,  bar  11. 

„       Die  betrogne  Welt,  bar  12. 
„       Das  Veilchen,  bars  9  to  11  and  bar  36. 
„       Abendempfindung,  bars  72  and  73. 
„       Im  Friihlingsanfang,  bar  8. 
„       Die  Verschweigung,  bar  17. 
IkETHovEN.    Song.    Adelaide,  bar  59. 

„       Neue  Liebe,  bar  35. 
„       Speranza,  bars  i  and  7. 
„       Lamento  amoroso,  bar  9. 
„       Der  Wachtelschlag,  bars  14  and  29. 
„       An  die  Geliebte,  bar  8. 
ScuuBKP.T.    Song.   Kreuzzug,  bar  21.  . 
„       Himmelsfunken,  bar  20. 
„       Die  Sterne,  17^*^  bar  from  end. 
„       Dithyrambe,  bar  19. 
„       Im  Haine,  bar  9. 
1^       Der  KOnig  von  Thule,  bar  7. 


GLOSSARY  OF  TERMS  BEARING  UPON  THE 
SUBJECT  OF  MUSICAL  ORNAMENTATION. 


The  path  of  the  compiler  of  a  glossary  of  technical  terms,  past 
and  present,  is  often  one  of  peculiar  difficulty.  It  is  the  tendency  of 
terms  of  the  kind  to  become  rapidly  obsolete;  moreover,  the  surrender 
of  the  old  names  and  the  adoption  of  ihe  new  are  frequently  acts  of 
an  individual  writer  or  of  an  independent  school.  The  new  names, 
if  not  strangled  in  their  birth,  make  but  slow  'progress  towards 
an  universal  acceptance.  The  result  is  a  confusion  of  terminology 
which,  for  the  time  being,  renders  identification  a  task  of  no  ordinary 
difficulty.  In  no  department  of  knowledge  is  this  difficulty  more 
apparent  than  in  the  subject  of  musical  ornamentation.  But  the 
question  of  terminology  is  not  the  only  perplexity  that  awaits  the 
student.  Manj^  of  the  early  graces  have  come  down  to  us  in  sym- 
bolic form  only.  Consequently,  it  is  often  far  from  easy  to  arrive  at 
a  just  conclusion  in  the  case  of  symbols  and  general  indications 
employed  at  a  time  when  composers  and  executants  were  equally 
responsible  for  melodic  figuration.  Nor,  probably,  will  the  exact 
solutions  of  the  earliest  graces  ever  issue  from  the  doubt  which 
surrounds  them.  It  is  difficult  to  us,  accustomed  as  we  are  to  exact- 
ness of  indication,  to  imagine,  however  feebly,  the  full  force  of  the 
direction,  common  enough  at  one  time,  to  introduce  embellishments 
into  a  given  passage.  But,  although  the  difficulty  is  one  that  appears 
to  affect  the  antiquarian  side  of  music  rather  than  to  bear  upon  its 
existence  as  a  living  art,  it  must  not  be  forgotten  that  the  embellish- 
ments of  the  present  day  have  been  evolved  from  those  of  earlier 
times.  Thus,  while  the  modern  graces  represent  the  high-water 
mark  in  musical  expression  of  the  kind,  they  ought  to  be  received 
and  regarded  as  a  heritage  from  the  past.  Only  by  so  receiving  and 
regarding  them  will  the  student  be  able  to  famiharize  himself  with 
all  their  phases;  to  understand  their  true  function;  to  execute  them 
in  an  orderly  and  artistic  manner.  It  is,  in  brief,  the  duty  of  the 
earnest  student  to  endeavour  to  comprehend  more  clearly  the  pro- 
cesses which  have  issued  in  the  effective  ornamentation  of  the 
present  day.  It  is  not  too  much  to  say,  that,  if  the  study  of  these 
same  processes  be  sincerely  pursued,  little  trouble  will  be  experienced 
in  tracing  the  evolution  of  graces  from  their  antecedent  forms  to  their 


Ahhrllnre.] 


[Accent  steigcnd. 


latest  exposition  in  modern  music.  Confusion  of  nomenclature  Uiid 
of  actual  significance  as  between  grace  and  grace  may  often  be 
apparent,  but  if  the  subject  be  approached  upon  sufficiently  broad 
lines,  it  cannot  but  result  in  illuminating  many  passages  in  the 
development  of  music  which  may  previously  have  been  felt  to  be 
vague  and  obscure. 

Abbellare.  (It.  v.)  To  embellish,  to  ornament  by  the  use  of  graces. 
Abbellimenti.   (It.  s.  m.  pi.)    Ornaments,  embelHshments.  General 
term. 

Abbellire.   (It.  V.)  To  adorn,  to  beautify  by  the  use  of  graces. 

Abbellitura.   (It.  s.  f.)   An  ornament,  embellishment.  General  term. 

Abzug.  (Ger.  s.  m.)  A  species  of  the  Bebung  (q.  v.),  practically  limited 
to  two  sounds  of  the  same  pitch,  the  second  of  which  is  taken 
off  lightly,  the  repercussion  as  a  rule  being  slight  and  delicate. 
Vide  Chopin.  Valse  Op.  34  No.  1.  14^^^  bar  et  seq.,  counting  back- 
wards from  end. 

Accent.  (Eng.)  (A)  The  stress  or  emphasis  which  gives  clear 
definition  to  the  sounds  comprising  a  grace.  (B)  The  same  as 
the  accent  of  the  French,   (q.  v.) 

Accent.  (Fr.  s.  m.)  Originally  appHed  to  the  decorative  treatment  of 
two  melodic  sounds  after  the  manner  of  the  modern  appoggiatura, 
slide  or  nachschlag.  Ultimately  it  takes  the  form  of  the  appoggia- 
tura pure  and  simple  and  is  indicated  by  an  inverted  comma, 
thus  — 


=   <2- 


or  by  a  dash  ascending  or  descending  in  the  direction  of  the 
movement  inferred,  thus  — 


I 


Accent  Double.   (Fr.)   Vide  Double  Accent. 

Accent  Fallend.  (Ger.)  The  descending  form  of  the  ornament  de- 
scribed under  accent.  (Fr.) 

Accent  Plaintif.  (Fr.)  The  ascending  form  of  the  ornament  described 
under  accent.  (Fr.)  The  name  appears  to  have  been  used  only  in 
connexion  with  music  for  the  lute. 

Accent  Steigend.  (Ger.)  The  ascending  form  of  the  ornament  de- 
scribed under  accent  (Fr.),  thus  — 


Accento.l  —      I  ^^  [Anscliiag;.  j 

AccENTo.   (It.  s.  in.)   The  same  as  the  French  accent,   (q.  v.) 
AccENio  Dopp]o.   (It.)  The  same  as  the  double  accent  of  the  French, 
(q.  V.) 

AcciACCATURA.  (It.  s.  f.)  (A)  A  percussive  ornament  in  use  up  to  the 
time  of  J.  S.  Bach  and,  in  a  modified  form,  up  to  a  still  later  date. 
It  was  indicated  by  a  dash  and  is  referred  to  in  Sec.  I  par.  22. 
(B)   The  modern  ornament  described  in  Sec.  I  par.  21  et  seq. 

AcsiACATURA.   (It.  s.  f.)   The  rapid  and  successive  occurrence  of  the 
sounds  of  a  chord.   Indicated  by  a  vertical  line  or  zigzag  placed  i 
to  the  left  of  the  chord.   Must  be  strictly  differentiated  from  the  j 
Arpeggio. 

Adornamenti.   (It.  s.  m.  pi.)   A  general  term  for  ornaments. 
Affilar  il  Tuono.   (It.)  Vide  Jilar  it  tuono. 

After-Beat.  The  English  rendering  of  Nachschlag.  Vide  Sec.  V 
par.  1. 

After-Sound.   The  same  as  After-Beat. 

Agrements.  Agremens.  (Fr.  s.  m.  pi.)  A  general  term  by  no  means 
confined  to  the  ornaments  of  music  but,  when  used  in  connexion 
with  the  latter,  usually  applied  to  the  embellishments  introduced 
into  older  music. 

Anticipation.  (Eng.)  (Fr.  s.  f.)  (Ger.  s.  f.)  A  sound  which  occupies 
the  same  position  as  the  Nachschlag  (q.  v.)  but  which  differs  from 
the  latter  in  that  the  principal  or  accented  sound  is  that  which 
immediately  succeeds  the  sound  or  sounds  of  anticipation.  The 
Anticipation  is  not  usually  regarded  as  a  musical  embelHshment 
per  SB  but  of  its  claim  to  be  so  regarded  there  can  be  no  doubt. 
It  is  frequently  used  in  a  perfect  cadence  and  this  is  perhaps  its 
most  effective  and  characteristic  form.  In  passing,  it  may  be  ob- 
served that  some  eighteenth  century  writers  indicated  the  An- 
ticipation by  a  sign  or  by  a  small  untimed  note  (petite  note)  and 
one  at  least  (Geminiani.  1680—1762)  included  it  in  a  formal  list  of 
standard  ornaments. 

Anschlag.  (Ger.  s.  m.)  The  old  term  for  the  so-called  Double  Ap- 
poggiatura.  (q.  v.)  The  three  sounds  which  formed  Anschlage 
(pi.)  were  susceptible  of  two  interpretations.  (A)  A  rapid  execu- 
tion similar  to  the  Acciaccatura.  This  occurred  when  the  first 
two  sounds  were  separated  by  the  interval  of  a  Sf^i.  (B)  A  more 
leisurely  and  less  forceful  rendering.  This  occurred  when  the 
interval  between  the  first  two  sounds  was  greater  than  a  3'^ 
The  following  examples  are  quoted  from  C.  P.  E.  Bach's  "Ver- 
such  iiber  die  wahre  Art  das  Klavier  zu  spielen". 


Ansclilagender  Vorsclilag.] 


—     1  M  — 


(Arpeggiato. 


Anschlagendkk  Vorschlag.  (Cut.)  i.  e.  the  "striking  appoggiatura" 
or  the  appoggiatura  executed  in  the  time-position  of  the  principal 
sound.  A  term  used  to  differentiate  the  appoggiatura  proper 
from  the  Nachschhig  when  the  latter  was  known  as  the  Passmg 
Appoggiatura.   (Durchgehender  Vorschlag.  q.  v.) 

Appoggiatura.  (It.  s.  f.)  The  well-known  ornament  of  the  name  de- 
sciibed  in  Sec.  I.  The  term  is  used  technically  in  England,  no 
satisfactory  equivalent  in  the  English  tongue  having  been  devised. 

Appogiature.  Occasionally  Appoggiature.  (Fr.  s.  f.)  i.  e.  appoggiatura. 
Vide  Sec.  I  par.  1. 

Appogiature  Breve.   (Fr.)  i.  e.  the  modern  acciaccatura.  Vide  Sec.  I 

par.  21. 

Appogiature  Double,  Double.  (Fr.)  The  double  appoggiatura.  Vide 
Sec.  I  par.  35. 

Appuy.   (O.  Fr.  s.  m.)   An  eighteenth  century  term  for  the  appoggia- 
tura as  a  preface  to  a  shake.   Vide  Sec.  VI  par.  3. 
Arpege.   (Fr.  s.  m.)  i.  e.  arpeggio,   (q.  v.) 

Arpegement.  (Fr.  s.  m.)  (A)  The  playing  ot  a  chord  after  the  manner 
of  an  arpeggio.   (B)   A  succession  of  harmonies  so  treated. 

Arpegement  en  Descendant.  (Fr.)  The  old  term  for  the  breaking  of 
the  sounds  of  a  chord  downwards.   Vide  Arpeggio. 

Arpegement  en  Montant.  (Fr.)  The  old  term  for  the  breaking  of 
the  sounds  of  a  chord  upwards.  Vide  Arpeggio. 

Arpegement  Figure.  (Fr.)  An  18*^  century  term  for  the  combination 
of  the  broken  chord  and  acciaccatura.  Indicated  by  an  oblique 
stroke  in  the  direction  of  the  movement,  thus  — 


Arpegement  Simple.  (Fr.)  An  18th  century  term  for  the  simple 
breaking  of  the  sounds  of  a  chord  without  accessory  ornamenta- 
tion of  any  kind,  thus  — 


Arpeggiando.  (It.  from  arpeggiare  =  to  play  upon  the  harp.)  The 
treatment  of  a  chord  or  of  a  succession  of  chords  after  the 
manner  of  the  arpeggio. 

Arpeggiare.   (It.)  Vide  arpeggiando. 

Arpeggiato.  (It.)  from  arpeggiare.  (q.  v.)  Virtually  after  the  manner 
of  playing  upon  the  harp. 


Arpeggio.) 


-  138  — 


[Aspiration. 


Akfeggio.  fit.  s.  m.  from  arpeggiare.  q.  v.)  The  first  appearance  of 
the  Arpeggio  —  as  an  indicated  grace  —  seems  to  have  occurred 
in  the  lute  music  of  the  17^^  century.  The  sign  for  its  introduc- 
tion was  an  oblique  stroke  /,  the  parent  of  the  vertical  waved 
line  which,  in  modern  notation,  directs  the  breaking  of  the 
sounds  of  a  chord.  It  must  be  particularly  observed,  that,  in 
deah'ng  with  the  subject  of  musical  ornamentation,  the  word 
Arpeggio  refers  to  the  broken,  sustained  chord  only  and  not  to 
the  brilh'ant  figurative  device  so  common  in  modern  Pianoforte 
music.  (Cf.  Acsiacatura.)  The  Arpeggio  or  broken  chord  was 
included  in  the  standard  em.bellishments  of  music  by  J.  S.  Bach 
and  by  his  son  Carl  Philipp  Emanuel.  (See  the  work  referred  to 
under  Anschlag.)  The  waved  line  was  employed  at  that  time  to 
indicate  the  ornament.  A  hook  was  affixed  to  the  line;  some- 
times at  the  upper  extremity  |,  when  it  indicated  the  breaking 
of  the  chord  downwards  (arpegement  en  descendant);  sometimes 
at  the  lower  extremity  J,  when  it  directed  the  breaking  of  the 

chord  upwards  (arpegement  en  montant).  It  is  almost  unneces- 
sary to  add,  that,  the  former  has  entirely  fallen  into  disuse, 
the  broken  chord  thus  treated  being  invariably  written  out  in 
full,  both  in  the  modern  employment  of  the  device  as  well  as  in 
modern  editions  of  the  works  in  which  it  was  originally  indicated 
in  the  manner  just  set  forth. 

Aspiration.  (Fr.  s.  f.  also  Ger.  s.  f.)  As  a  standard  ornament,  the 
Aspiration  is  obsolete.  Originally,  it  corresponded  to  the  modern 
Nachschlag  (q.  v.)  and  was  indicated  by  a  sign  resembling  a 
circumflex  accent,  thus  — 


When  this  sign  was  inverted,  the  sound  below  was  taken,  thus 


At  a  later  date,  the  sounds  are  both  expressed  in  the  notation 
and  a  new  sign  is  introduced,  viz.  |.  This  sign  appears  to  have 
indicated  a  good  legato  in  the  passage  from  one  sound  to  the 
other,  together  with  a  shortening  of  the  time-value  of  the  second 
sound.   In  this  guise,  the  Aspiration  appears  to  be  derived  from 


Assemblage.] 


^      139  -» 


(Balancement. 


the  same  source  as  the  Appogoiatura.  The  following  example  is 
from  Couperin  (1668—173'^). 

Still  later,  the  Aspiration  reverts  to  its  original  significance.  But 
the  sign  A  V  is  often  replaced  by  a  small  untimed  note 
(petite  note),  the  hook  of  which  turns  in  the  direction  of  the  pre- 
vious note.   The  following  example  is  from  Marpurg  (1718—1795). 

Assemblage.   (Fr.  s.  m.)   An  occasional  term  for  the  Turn.   (q.  v.) 
AusscHMUcKEN.   (Gcr.  V.)   To  embellish,  to  ornament. 
AusscHMilcKUNG.  (Gcr.  s.  f.)  An  ornament  or  embellishment.  General 
term. 

Auxiliary  Sounds.  Sounds  which  are  essential  to  all  graces  but 
which  do  not  form  a  part  of  the  prevailing  harmony.  Of  such 
are  the  upper  and  lower  sounds  of  the  turn,  the  upper  sound  of 
the  shake,  etc. 

Backfall.  (A)  A  Lute  embellishment.  (B)  A  Harpsichord  grace. 
Indicated  at  different  periods,  (a)  by  a  short,  diagonal  stroke  (in 
the  reverse  direction  to  that  which  indicated  the  Fore-Fall.  q.  v.), 
thus  — 

(b)   By  a  sign  like  the  comma,  thus  — 

In  either  case,  the  Backfall  may  be  observed  as  the  genesis  of 
the  modern  Appoggiatura. 

Back  Turn.   A  rarely-used  term  for  the  Inverted  Turn.   (q.  v.) 

Balancement.  (Fr.  s.  m.)  The  old  Clavichord  grace  known  in 
Germany  as  the  Bebung.  (q.  v.)  An  exact  reproduction  of  the 
repetition  of  the  sound  is  practically  impossible  upon  the  modern 
Pianoforte,  but  the  so-called  vibrato  of  the  voice  may  be  advan- 
ced as  a  possible  analogue.  The  Balancement  was  indicated  by 
the  combination  of  a  slur  and  dots  to  the  number  of  repetitions 


S 


^^^^"^^"^•5  ■—      I40     —  meat. 

required,  of  which  the  modern  indication  of  the  so-called  porta- 
mento or  mezzo-staccalo  Pianoforte  touch  is  a  survival.  (Cf.  Close 
Shake.)   The  following  example  is  from  Marpurg.  (171S— 1795.) 

Batemens.   O.  Fr.  for  battements.   (q.  v.) 

Battement.  (Fr.  s.  m.)  An  ornament  resembling  an  inverted  shake 
and  indicated  by  small  untimed  notes  to  the  number  of  reper- 
cussions required,  thus  — 


^1 


Battements.  (Fr.  s.  m.)  (A)  A  term  which  embraced  many  graces 
employed  by  the  lutenists  of  the  17^1^  century.  (B)  The  beats  or 
repercussions  of  the  shake. 

Battimento.   (It.  s.  m.)   The  equivalent  of  the  Fr.  battemeitt.  (q.  v.) 

Batterie.  (Fr.  s.  f.)  The  ornamentation  of  a  chord  by  the  application 
of  various  types  of  figuration.  Some  writers  distinguish  between 
arpege  and  batterie  as  follows.  To  the  former,  belongs  the  simple 
presentation  in  consecutive  order  of  the  fundamental  sounds  of 
a  chord;  to  the  latter,  the  decoration  of  the  arpeggio  itself  by 
the  introduction  of  foreign  sounds. 

Battery.  (Eng.)  (A)  A  17^^  century  term  for  the  broken  chord, 
par  excellence  that  composed  of  four  sounds.  (B)  At  a  later 
date,  the  name  is  applied  to  a  broken  chord  with  which  an  ac- 
:iaccatura  is  intermingled.   Cf.  Ex.  27  Sec.  I. 

Bearing.   An  old  English  term  for  the  Slide,  (q.  v.) 

Beat.  (A)  Another  term  for  the  16- 17^^  century  Half -Fall.  (q.  v.) 
(B)  As  a  lute  grace,  analogous  to  the  modern  Lower  Mordent 
and  indicated  by  the  sign  /  (C)  A  short  inverted  shake  of  two 
beats  (late  17th  century),  indicated  by  a  waved  line,  thus  — 

f  ^1  = 


Early  in  the  IS^h  century,  this  form  of  the  Beat  is  indicated  by 
the  sign  ^  and  the  number  of  repercussions  becomes  more  en- 
tirely dependent  upon  (he  performer.  Later  in  the  same  century, 
the  signs  -Uv  and  c^s  are  emplo3^ed  and  the  Beat  practically 
becomes  the  Double  Mordent,  (q.  v.)  (D)  The  repercussions  of 
the  shake  or  of  kindred  ornaments.   Vide  Sec.  Ill  par.  36. 


Beben.] 


—      141  — 


(Cadence  liee 


Beben.   i.  e.    Bebung  (q.  v.)  also  (v.)  to  quiver,  to  shake. 

Bebung.  (Ger.  s.  f.)  =  a  trembling,  quivering,  etc.  A  word  which 
does  not  appear  to  have  been  in  use  anterior  to  the  time  ot 
J.  S.  Bach,  but  which  had  direct  precursors  in  the  names  given 
to  the  various  older  ornaments  which  involved  the  repetition  of 
a  sound,  (tremolo,  vibrato.)  For  a  description  of  the  Bebung, 
vide  Sec.  V  par.  15. 

Beisser.   (Ger.  s.  m.  =  a  biter)  i.  e.  the  Mordent  proper.  (The  Lower 

Mordent.)  ,   ,   ,  .u 

Bockstriller.  (Ger.  s.  m.  =  goat's  shake.)  A  comical  shake  "like  the 

quavering  of  a  goat". 
DoMBO.  at.  s.  m.)  An  old  term  for  the  repetition  of  a  sound,  (tremoto, 
vibrato.) 

Brechung.   (Ger.  s.  f.)   A  term  formerly  applied  to  the  arp^gement 

en  nwntant.   (q.  v.) 
Brise.   (Fr.  s.  m.)   A  term  formerly  used  in  France  for  the  Gruppetto 

or  Turn.   (q.  v.) 

Broderies.  (Fr.s.f.pl.)  (A)  The  simple  embellishments  of  music 
whereby  florid  figuration  becomes  possible.  (B)  A  general  term 
for  ornaments  as  such. 

Broken  Chord.   Vide  Arpeggio. 

BuoNA  NoTA.   (It.s.f.)   The  accented  sound  of  a  grace. 

Cadence.  (Eng.)  also  (Fr.  s.  f.)  (A)  Formerly,  a  shake,  run  or  divi- 
sion introduced  as  an  ending  to  a  musical  phrase  or  melody. 
(B)  The  distinct  precursor  of  the  shake  of  J.  S.  Bach.  It  was 
employed  in  three  ways.  The  sign  ^v.  or  ^  indicated  commence- 
ment upon  the  auxiliary  sound;  and  Owv  the  prefixes  re- 
spectively described  in  Sec.  Ill  pars  8  and  10.  (C)  At  the  time 
of  J.  S.Bach,  the  term  seems  to  have  passed  to  the  Doppelschiag 
or  turn.  Vide  'Clavier-Buchlein  vor  W.  F.  Bach,  angefangen  in 
Cothen  den  22  Januar  A%  1720.' 

Cadence  Appuyee.  (Fr.)  The  combination  of  the  appoggiatura  and 
shake.  Indicated  (IStii  cent.)  thus  Uw.   Cf.  Sec.  VI  par  4. 

Cadence  BRisi:E.  (Fr.)  A  cadential  shake  of  an  abrupt  nature, 
startincr  with  the  auxiliary  sound  and  not  preceded  by  any  souna 
which  prepares  the  ear  for  the  ornament.  It  was  indicated  (18th 
cent.)  by  a  Greek  cross,  thus  — 


m  -  ^^^^ 


Cadence  Liee.  (Fr.)  (A)  A  shake  preceded  by  an  appoggiatura, 
the  latter  forming  the  first  sound  of  the  shake.  (Vide  Liaison.) 
(B)  An  alternative  name  for  the  Cadence  Pleine. 


Cadence  pleine.] 


—  142 


[Catena  di  trilli. 


Cadence  Pleine.  (Fr.)  Differed  from  the  cadence  brisde  in  the 
manner  of  its  preparation.  The  cadence  pleine  was  preceded  by 
an  appoggiatura  of  the  same  pitch  as  the  auxih"ary  sound  of  the 
shake  and  which  was  virtually  the  first  sound  of  the  latter.  The 
cadence  pleine  appears  to  be  differentiated  from  tlie  cadence 
appiiyde  (q.  v.)  —  in  which  also  an  appoggiatura  was  concerned 
—  by  the  fact,  that  the  former  was  almost  entirely  of  a  cadential 
nature.  Moreover,  the  appoggiatura  of  the  cadence  pleine  appears 
in  the  music  of  the  latter  part  of  the  18th  century  in  exact  nota- 
tion. Conversely,  in  the  following  example  from  Rousseau 
(1712-1778),  the  cadence  pleine  is  an  indicated  grace. 


- 

F  , 

_, 

lJ 

Cadence  Soutenue.  (Fr.)  An  earlier  term  for  the  cadence  pleine 
in  which,  moreover,  the  written  appoggiatura  was  indicated  by  a 
sign  placed  above  the  cross  which  represented  the  shake, 
thus  [jl 

Cadent.  (Eng.)  Originally  (16th_i7th  cent.)  a  synonym  of  Backfall 
(q.  V.)  or  appoggiatura  from  above.  At  a  later  date,  the  (smooth) 
Cadent  (Vide  Shaked  Graces)  becomes  a  Nachschlag  after  the 
manner  of  an  anticipatory  sound.  The  following  example  is 
from  Christopher  Sympson  or  Simpson.   (1670  ante.) 

Cadenz.   (Ger.  s.  f.)  i.  e.  Cadence  (q.  v.). 

Cadenza.  (It.  s.  f.)  (A)  Cadence  (q.  v.).  (B)  The  embellishment  of 
the  final  portion  of  a  movement  is  sometimes  effected  by  the 
introduction  of  a  cadenza,  i.  e.  a  more  or  less  extended  passaqe 
of  a  florid  nature. 

Cadenza  Fiorita.   (It.)   A  flowery,  highly  ornate  cadence. 

Cambiata.  (It.  s.  f.)  from  cambiare  =  to  change.  A  term  sometimes 
applied  to  the  appoggiatura. 

Canto  (s.  m.)  Fiorito.  (It.)  A  melody  embellished  by  ornamental 
figuration. 

Cascata.  (It.  s.  f.  lit.  cascade.)  A  run  or  series  of  short  and  con- 
junctly moving  sounds  leading  from  one  main  melodic  sound  to 
another.  The  application  of  the  term  to  passages  of  the  kind  is 
at  least  as  old  as  the  16*^  century,  but  it  does  not  appear  ever  to 
have  come  into  use  as  a  precise  technical  term. 

Catena  di  Trilli.   (It.)  i.  e.  Chain  of  shakes  (q.  v.). 


I 


Cercar  la  nota.] 


[Close  Sbal-.c. 


Cercar  la  Nota.   (It.  lit  seek  for  the  note.)   Virtually  a  direction 
for  the  observance  of  the  Portamento  in  singing,  thus  — 


Chain  of  Shakes.   Vide  Sec.  Ill  par.  56. 

ChaIne  de  Trilles.   (Fr.)  i.  e.  Chain  of  shakes  (q.  v.). 

Chevrotement.   (Fr.  s.  m.)  i.  e.  Bockstriller  (q.  v.) 

Cheute.  (O.  Fr.  s.  f . )  An  old  term  for  the  appoggiatura.  Indicated, 
in  music  of  the  17 century,  by  an  inverted  comma  and  called 
cheute  en  montant  or  en  descendant  according  as  the  grace- 
sound  was  below  or  above  the  principal  sound.  A  hundred  years 
later,  the  term  chente  en  montant  becomes  obsolete,  being  re- 
placed by  port  de  voix  (q.  v.).  The  cheute  en  descendant  therefore 
becomes  the  cheute,  pure  and  simple. 

Chevroter.  (Fr.  v.)  (A)  Indicating  the  use  of  the  Vibrato.  (Vide 
Vibrato.  B.)    (B)   To  produce  the  Bockstriller  (q.  v.). 

Chromatic  Ornaments.  (A)  Those  which,  though  formed  upon  a 
diatonic  sound,  contain  a  sound  or  sounds  not  in  the  diatonic 
series  of  the  prevailing  key.  (B)  Those  formed  upon  chromatic 
sounds  of  the  prevailing  key. 

Chutte  (0.  Fr.)  or  Chute.  (Fr.  s.  f.  lit.  a  fall.)  An  early  18th  century 
term  for  the  Nachschlag  proceeding  downwards  to  the  following 


Circolo.  (It.  s.  m.  lit.  a  circle.)  A  figure  analogous  to  the  Turn,  the 
principal  sound  being  the  centre  of  the  figure.  The  continuous 
repetition  of  the  figure  yields  the  effect  of  a  revolution  around 
the  principal  sound  and,  hence,  gives  the  impression  of  a  circle 
in  tone.  Mendelssohn  introduces  the  circolo  at  the  commence- 
ment of  the  Lied  ohne  Worte.  Op.  67  No.  4  (No.  34). 
Circolo  Mezzo.  (It.  s.  m.  lit.  half-circle.)  Differs  from  the  circolo  in 
that  the  principal  sound  is  at  the  extremity  of  the  figure  and  the 
effect  of  a  half-circle  in  tone  is  therefore  produced.  The  following 
example  is  from  Leopold  Mozart. 


CiRCULO.  (It.)  A  manner  of  spelling  Circolo  (q.  v.)  formerly  current 
in  Germany.  Vide  "Versuch  einer  grund  lichen  Violinschule." 
Leopold  Mozart. 

Close  Shake.  A  17'^  century  term  for  the  Vibrato  (Bebung).  The 
ornament  was  indicated  by  a  dot  or  bv  dots  placed  over  the 
notes  affected. 


sound. 


Close  Graces.] 


—      144  — 


fD^tacht. 


Close  Graces.    A  term  orio^inally  and  exclusively  applied  to  the 

execution  of  certain  ornaments  upon  stringed  instruments.  Tlie 

Bebung  or  Close  Shake  appears  to  form  the  best  illustration  of 

the  type  of  grace  involved.   (Cf.  Open  Graces.) 
Cola.   A  term  borrowed  from  Med.  Lat.  and  used  in  the  early  part 

of  the  isth  century  for  the  Slide.   It  was  indicated  in  the  manner 

set  forth  in  Sec.  IV  par.  24. 
CoLORATURE.    (It.  s.  f.  pi.)    Divisious,  runs  or  other  florid  passages 

particularly  in  vocal  music.  ' 
CoLORiEREN.   (Gcr.  V.)   To  colour  by  means  of  embellishments. 
Combined  Graces.    The  simultaneous  or  immediately  consecutive 

occurrence  of  two  graces.    Vide  Sec.  VI. 
Continued  Beat.    An  English  rendering  of  the  French  haitement 

(q.  V.) 

Continued  Shake,  i.  e.  A  long  shake  in  contradistinction  to  one 
upon  a  short  sound.   Used  by  Clementi  as  a  technical  term. 

CouLE.  (Fr.  s.  m.  from  cow/^r  =  to  flow,  to  glide.)  (A)  An  old  grace 
strictly  analogous  to  the  later  Slide  and  indicated  as  in  Sec.  IV 
par.  24;  also  as  follows  — 


(B)  Couperin  (1668-1733),  in  his  "Pieces  de  Clavecin",  applies  the 
term  to  the  legato  connexion  of  tw^o  sounds  indicated  by  a  slur 
the  first  sound  being  "dwelt  upon",  the  second  being  lighter  and 
shorter,  i.  e.  after  the  manner  of  the  modern  two-note  slur. 
A  like  significance  is  given  to  the  ferm  by  Rameau  (1683—1764)* 
but  he  frequently  omits  the  first  or  upper  sound  of  the  ornament,' 
mdicating  it  by  an  inverted  comma.  In  this  aspect,  therefore,  the 
coiiU  approximates  to  the  appoggiattira.  Rousseau  (1712—1778), 
on  the  contrary,  indicates  the  ornament  by  a  small  untimed  note 
and  gives  it  the  time-position  and  effect  of  the  Nachschlag.  (C) 
The  Slide,  pure  and  simple,  of  J.  S.  Bach  and  of  later  writers 
Vide  Sec.  IV  par.  22. 

Coulements.  (Fr.)  An  early  18*  century  term  referring  to  a  success- 
ion of  main  melodic  sounds  decorated  by  grace-sounds  similar 
to  the  modern  appoggiatura  or  nachschlag. 

Coulez.  (Fr.)  An  occasional  18th  century  method  of  spellino-  couU 
(q.  V.) 

Croix.   (Fr.  s.  f.)   i.  e.  cross,  the  old  sign  for  the  trille,  etc. 

DfiTAciiE.  (Fr.  s.  m.)  A  17th  century  term  indicating  the  separation 
of  the  sound  immediately  antecedent  to  a  shake.  The  separation 
was  itself  regarded  and  indicated  as  an  ornament. 


Diatonic  Ornaments. 


[Double  Beat. 


Diatonic  Ornaments.  Those  formed  wholly  of  sounds  belonging  to 
the  diatonic  scale  of  the  prevailing  key. 

Diminution.  An  early  term  for  the  introduction  of  florid  ornamenta- 
tion and  the  consequent  breaking  up  of  the  melodic  outline.  Vide 
'  Division. 

Division.  An  early  term  describing  the  beginnings  of  florid  melodic 
expression.  The  example  given  in  the  preliminary  Section  of 
this  book  exemplifies  the  decoration  of  the  main  sounds  of  a 
melody  by  the  application  of  various  kinds  of  ornamentation. 
The  art  involved  was  termed  Division  and  the  respective  melodic 
movements  evolved  between  each  main  melodic  sound  and  the 
next  were  called  Divisions.  Although  the  word  Division  was 
employed  for  at  least  200  years,  it  does  not  appear  to  have  been 
applied  to  any  particular  kind  of  embellishment,  but  remained  a 
general  term  or  the  precursor  of  the  present-day  terms  — 
auxihary  sounds,  graces,  etc. 

Divisions.   Vide  Division. 

DoppELSCHLAG.  (Gcr.  s.  m.)  i.  e.  The  Turn.  Vide  Sec.  II  pars.  1 
and  3. 

Doppel-Cadenz.   (Ger.)   Vide  Double  Cadence. 

Doppel-Mordent.  (Ger.)  i.  e.  the  Double  Mordent.  Vide  Sec.  IV 
par.  21. 

Doppeltriller.  (Ger.  s.  m.)  The  double  shake.  Vide  Sec.  Ill 
par.  55. 

DoppELvoRSCHLAG.  (Gcr.  s.  m.)  i.  e.  The  Double  Appoggiatura.  Vide 
Sec.  I  par.  35. 

Double.  (Fr.  s.  m.  sometimes  Double,  from  the  v.  doubler.)  The 
Turn.   (q.  v.) 

Double  Accent.  (Fr.)  An  early  18*^  century  term  describing  the 
anticipation  of  the  second  sound  of  the  accent.  (Fr.  q.  v.)  It  was 
thus  indicated  — 


Double  Appoggiatura.   Vide  Sec.  I  par.  35. 

Double  Backfall.  Distinguished  from  the  Backfall  fq.  v.)  by  the 
fact,  that,  it  consisted  of  three  sounds  of  a  3^^  in  compass.  It 
was  indicated  (17^1^  cent.),  thus  — 


I 


Double  Beat.   i.  e.  a  long  Beat.   Vide  Beat  (C). 


Ernest  Fowles.  Studies  in  Musical  Grace*. 


10 


Double  Cadence.] 


—     146  — 


[Double  Relish. 


Double  Cadence.  (Fr.)  A  term  which  varied  with  the  individual 
writers  by  whom  it  was  originally  employed.  It  can  be  most 
easily  understood  as  the  amalgamation  into  one  ornament  of  a 
shake  and  turn.  In  the  latter  part  of  the  17 century,  the  double 
cadence  appears  as  follows. 


cvw 


During  the  next  century,  it  takes  this  form. 

iD  _^  


I 


It  then  reverts  to  its  earlier  form,  but  the  preliminary  turn  is 
omitted.  In  this  phase,  it  is  accepted  by  J.  S.  Bach.  Vide  Sec.  Ill 
par.  8. 


Double  Cheute.  (O.  Fr.)  A  17  century  grace  to  which  the  Turn 
appears  to  be  the  nearest  analogy.  It  was  indicated  and  executed 
as  follows. 


Double  Martellement.   (Fr.)  i.  e.  pinc^  double,   (q.  v.) 
Double  Mordent.  Vide  Sec.  IV  par.  21. 

Double  Nachschlag.  A  term  sometimes  employed  to  describe  the 
occurrence  of  two  melodic  sounds  in  place  of  the  one  strictly 
accruing  to  the  Nachschlag.   Vide  Sec.  V  par.  11. 

Double  Pince.   (Fr.)   i.  e.  the  Double  Mordent,   (q.  v.) 

Double  Pince  Renverse.  (Fr.)  An  entirely  conventional  term,  since 
the  extension  of  the  pined  renversd  (q.  v.)  produces  the  trille,  an 
ornament  altogether  different  from  the  pined  double. 

Double  Relish.  An  extremely  florid  embellishment  of  two  main 
melodic  sounds.  (17^1^  cent.)  It  forms  a  particularly  apposite  ex- 
ample of  Division,  (q.  v.)  The  following  example  is  from  Tliomas 
M^ce  ("Musick's  Monument"  published  1676)  and  exhibits  the 


Double  Shake.] 


—    M7  — 


[Filar  la  voce. 


Double  Relish  as  a  lute  grace.  The  indication  in  brackets  below 
the  staff  was  also  current  during  the  same  period. 

^  [V//] 

Double  Shake.   Vide  Sec.  Ill  par.  55. 

DuRCHGEHENDER  VoRSCHLAG.  (Gcr.)  i.  c  the  ''Passiug"  Appoggiatura 
referred  to  in  Sec.  V  par.  3.  So-called  to  distinguish  it  from  the 
Anschlagender  Vorschlag  or  ''striking"  Appoggiatura.   (q.  v.) 

EiNFALL.  (Ger.  s.  m.)  A  term  at  one  time  applied  to  the  Double 
Accent,   (q.  v.) 

Elevation.  (Eng.)  A  17^1^  century  grace.  As  a  "smooth  grace" 
(Vide  Shaked  Graces),  it  appears  to  have  been  the  same  as  the 
modern  Slide.  As  a  "shaked  grace"  (Vide  Shaked  Graces),  it  is 
the  precursor  of  the  of  J.  S.  Bach.  As  a  smooth  grace,  it 
was  indicated  by  a  Greek  cross;  as  a  shaked  grace,  by  the  same 
with  dots  in  the  four  divisions,  e.  g.  ^.  The  following  examples 
are  from  Christopher  Simpson.   (17^1^  cent.) 


Embellir.   (Fr.  v.)   To  embeUish,  to  apply  musical  graces. 
Embellishment.   A  musical  grace. 
Embellissement.   (Fr.  s.  m.)   A  musical  grace. 

Empater  les  Sons.   (Fr.)   To  execute  the  sounds  of  a  passage  with 

particular  smoothness  and  tender  expression. 
False  Shake.   Vide  Sec.  Ill  par.  60. 

Feinte.  (Fr.  s.  f.)  An  alternative  term  to  Accent  (Fr.  q.  v.),  current 
in  the  \7^^  century. 

Figuration.  (Fr.)  Relating  to  the  rhythmic  effect  of  melodic  orna- 
mentation upon  music  generally. 

Filar  il  Tuono.  (It.)  To  sustain  a  sound  with  special  reference  to 
expressiveness  of  tone.  Sometimes  used  as  a  synonym  of  messa 
di  voce-   (q.  v.) 

Filar  la  Voce.  (It.)  The  same  as  the  above  but  in  special  relation 
to  the  voice. 

'O* 


Filer  la  voix.] 


  ^48   


[Getrillerter  Doppelsclilag. 


Filer  la  Voix.  —  Les  Sons.    The  French  rendering  of  the  Italian 

filar  la  voce  and  filar  il  tuono. 
FiORETTE.    (It.  s.  m.  pi.  lit.  little  flowers.)   General  term  for  musical 

ornaments. 

FiORiTo.  (It.  s.  m.  from  fiorire  =  to  blossom.)  e.  g.  canto  fiorito  =^  a 
florid  song  or  melody. 

FiORiTURA.   (It.  s.  f.)   A  musical  grace.   General  term. 

FioRiTURE.   (s.  f.)   The  French  rendering  of  fioritura.   (q.  v.) 

Flatter  la  Corde.  (Fr.  lit.  to  caress,  to  touch  sympathetically,  the 
string.)  A  signal  for  great  expression.  A  direction  usually 
limited  to  performers  upon  stringed  instruments. 

Flatte.  (Fr.  s.  m.)  An  old  term  for  the  Slide  and  indicated  in  the 
manner  set  forth  in  Sec.  IV  par.  24.  In  at  least  one  master  of 
the  18 A  century,  however,  the  flattd  appears  in  the  form  of  the 
Double  Appoggiatura  indicated  by  an  elongated  dot  above  the 
note  affected. 

Flourish.    (A)   A  very  florid  ornament.    (B)   A  fanfare.    (C)  The 

preparatory  prelude  of  a  performer. 
Forefall.   a  17th  century  term  for  the  appoggiatura  from  below, 

otherwise  known  as  the  Beat  (Cf.  Beat.  A.)  or  Half-Fall.    (q.  v.) 

Represented  in  the  17    century  as  follows  — 


Fouet.   Coup  de          (Fr.)   The  sudden  application  of  brilliance  at 

the  termination  of  a  passage  or  movement.  The  second  move- 
ment of  Beethoven's  Pianoforte  Concerto  in  C  minor  concludes 
with  a  coup  de  fouet. 

Fredon.  (O.  Fr.  s.  m.)  The  application  of  the  Tremolo  (q.  v.)  to  the 
voice. 

Fregiatura.   (It.  s.  f.)   A  musical  grace.   General  term. 

Fusee.   (Fr.  s.  f.)   A  series  of  rapid  and  conjunct  sounds  in  the  form 

of  a  run.   (Roulade  q.  v.) 
Gebrochener  Accord.  (Ger.)  i.  e.  A  broken  chord.  Vide  Arpeggio. 
Geprallter  Doppelsciilac.    (Gt  r.)    Vide  Prallendcr  DoppelschFag. 
Gesciinellter  Doppelschlag.    (Ger.)    The  Turn   of  Ave  sounds 

executed  with  great  rapidity. 
Getrillerter   Doppelschlag.     (Ger.)     The  Turn  of  five  sounds 

generally  preceded  by  an  appoggiatura  and  ii  dicat.ed  by  the 


In  the  18tJi  century,  the  direction  was  as  follows  ~ 


I 


GewOhnlicher  Mordent.] 


[Gruppetto  all'  ingiii. 


symbols  of  the  Doppelschlag  and  Mordent,  one  above  the  other. 

(Cf.  Sec.  VI  par.  11.) 
Gewohnlicher  Mordent.    (Ger.)    The  ordinary  or  short  Mordent. 

Vide  Kurzer  Mordent. 
Giro.   (It.  s.  m.)   An  alternative  term  for  the  Gruppetto  or  Turn. 
Glissando.   (It.)   Referring  to  the  execution  of  a  passage  upon  the 

Pianoforte  by  sliding  the  tips  of  the  fingers  along  the  keys. 
Glissato.   (It.)   Vide  Glissando. 
Glisse.   (Fr.)   Vide  Glissando. 
Glissicando.   (It.)   Vide  Glissando. 
Glissicato.   (It.)   Vide  Glissando. 

Glose.  (Fr.  s.  f.)  An  occasional  expression  denoting  the  use  of  orna- 
ments of  bad  taste  and  inappropriate  significance. 

Gorgheggi.  (It.  s.  m.  pi.  from  gorgheggiare.  q.  v.)  A  word  sometimes 
appHed,  as  a  general  term,  to  musical  graces. 

Gorgheggiamento.  (It.  from  gorgheggiare.)  The  act  of  applying  the 
ornaments  understood  as  gorgheggi  to  actual  music. 

Gorgheggiare.  (It.  v.  to  quaver,  to  tremble.)  To  apply  florid  orna- 
mentation to  a  melody. 

Grace.   Any  musical  ornament.   A  general  term. 

Grace-Notes.  The  uniimed  notes  (petites  notes)  which  appear  in  the 
text  of  a  musical  composition  and  indicate  the  introduction  of 
ornaments. 

Groppo.  (It.  s.  m.  lit.  a  knot  or  bunch.)  (A)  The  Italian  equivalent 
of  the  word  Division  (q.  v.)  (B)  Early  in  the  18th  century,  the 
term  seems  to  have  passed  to  the  figure  known  as  the  Circolo 
Mezzo  (q.  v.).   Leopold  Mozart  gives  the  following  example  of 


Groppolo.  The  name  given  by  a  16*^  century  Italian  writer  (Emilio 

del  Cavalieri)  to  a  shake  with  concluding  turn. 
Group.   (Eng.)  i.  e.   A  Division,   (q.  v.) 

Groupe.   (Fr.  s.  m.)   The  series  of  sounds  which  collectively  form  a 
grace;  more  particularly  those  represented  by  untimed  notes  such 
as  the  Turns  in  Exs.  44  et  seq.  Sec.  II. 
Gruppetto,  occasionally  but  incorrectly  —  Grufetto.   (It.  s.  m. /z?.  a 

little  bunch  or  knot.)   The  Turn.   Vide  Sec.  II. 
Gruppetto  all'  IngiCj.   (It.)  The  ordinary,  i.  e.  the  downward  Turn, 
thus  —  ^ 


the  "groppo  ascendente". 


Grupnetto  all'  insu.] 


[Kettentnller. 


(jKUPi'Erxo  ALL'  iNstJ.  (It.)  Tlic  inverted,  i.  e.  the  upward  Tuin,  thus  — 


Gruppo.  (It.  s.  m.  =  a  group.)  (A)  A  Division,  (q.  v.)  (B)  The  formal 
termination  of  a  shake,  (terminazione ,  Nachschlag.)  (C)  Occa- 
sionally used  for  the  Turn.  (D)  Each  alternation  of  the  figure 
in  a  passage  such  as  the  Circolo.   (q.  v.) 

Halb-Circkel.  (0.  Ger.)  The  Circolo  Mezzo,  (q.  v.)  A  figure  re- 
garded as  a  standard  grace  anterior  to  the  time  of  J.  S.  Bach. 

Halb-Triller.  (Ger.)  The  Circolo  Mezzo  preceded  b}^  an  appoggia- 
tura.  The  following  example  is  from  Leopold  Mozart.  Such  a 
figure  would,  in  the  present  day,  be  described  as  a  combination 
of  the  Vorschlag  and  Doppelschlag,  i.  e.  of  the  appoggiatura 
and  turn. 

Half-Fall.   An  alternative  \7^^  century  term  for  the  Fore- Fall  (q.  v.) 

or  the  Beat.   (Vide  Beat.  A.) 
HAJiPEGE.   (Fr.)  A  less  usual  form  of  the  word  arpige  (q.  v.)  which 

derives  its  initial  letter  from  the  particular  relation  of  the  device 

to  the  instrument  Harpe. 
Harpegement.  (Fr.)  i.  e.  arp^gement  (Cf.  Harpege.)  An  example  of 

the  Harpegement  as  a  standard  grace  of  the  17 century  is  here 

subjoined. 


Harpegiatura.   (From  the  It.)   An  early  18 century  writer's  term 

for  the  arp^gement  simple,   (q.  v.) 
Hauptnote.   (Ger.  s.  f.)   The  principal  sound  of  a  grace. 
Hilfsnoten.    (Ger.  s.  f.  pl.)    The  "helping",  i.  e.  the  auxiliary  sounds 

of  a  grace. 

Inferior  Appoggiatura.  An  appoggiatura  one  degree  below  the 
principal  sound.   Early  18*  century.  (Geminiani.) 

Inferior  Cadence.  The  low^er  cadence  (shake)  when  two  are  executed 
simultaneously.   (18*  cent.)   Cf.  Superior  cadence. 

Inverted  Mordent.  Vide  Sec.  IV  par.  2.  Must  not  be  confused  with 
the  pined  renversd.   Vide  Sec.  IV  par.  4. 

Kettentriller.   (Ger.  s.  m.)   Vide  Sec.  Ill  par.  56. 


Krausel.l 


(Metter  la  Voce. 


Kkausel.   (Ger.  s.  m.  variation  of  Kreisel  =  a  top.)  A  colloquial  term 

applied  to  the  German  Mordent. 
KuKZER  Mordent.    (Ger.)   i.  e.  the  short  or  ordinary  Mordent  Cf. 

Gewohnlicher  Mordent. 
KuRZER  VoRSCHLAG.   (Ger.)   Vide  Sec.  I  par.  21. 

Langer  Mordent.  (Ger.)  The  Long  or  Double  Mordent.  Vide 
Sec.  IV  par.  21. 

Langer  Vorschlag.  (Ger.)  i.  e.  the  modern  appoggiatura  in  contra- 
distinction to  the  kurser  Vorschlag  of  J.  S.  Bach. 

LAtiFER.   (Ger.  s.  m.)   A  run.   (Roulade,  Tirata,  q.  v.) 

Liaison.  (Fr.  s.  f.)  (A)  The  slur  which  connected  the  appoggiatura 
to  the  ornament  with  which  it  was  combined;  an  important  indi* 
cation  in  music  of  the  ISt^^  century,  e.  g. 


Cadence  liee. 


(B)   The  execution  of  a  run  (roulade)  with  one  stroke  of  the  bow, 
in  one  breath,  etc. 
Long  Mordent.   Vide  Sec.  IV  par.  21. 

Lower  Mordent,   i.  e.  the  Mordent  proper.   Vide  Sec.  IV  par.  2. 
Manie.   (Fr.  s.  f.)  Practically  the  same  as  the  German  Manier,  but 
often  used  to  describe  a  vulgar  or  over  ornate  grace. 

Manier.  (Ger.  s.  f.  pi.  ...  en.)  A  musical  grace  (graces.)  General 
term  and  the  equivalent  of  agrements.   (q.  v.) 

Manier  A.   (It.  s.  f.)   Equivalent  to  the  German  Manier. 

Martellement.  (Fr.  s.  m.  O.  Fr.  =  Martelement.)  (A)  An  18*^  cen- 
tury term  for  the  Mordent.  Indicated  by  the  sign  V.  (B)  A 
Bebung-like  effect  produced  upon  the  Harp.   (Vide  Bebung.) 

Martellement  Double.  (Fr.)  The  Double  Mordent.  Indicated  (18* 
cent.)  by  the  sign  aw  or 

Martellement  Simple.   (Fr.)   The  pinc^  or  Mordent  proper 

Martellement  Triple.  (Fr.)  Virtually  the  inverted  shake  described 
under  Battement.  Indicated  as  the  martellement  triple  (18^^  cent.) 
by  the  sign         or  ^jvV. 

Melisma.  (From  the  Greek.)  (A)  A  musical  grace.  Hence  the  Ger- 
mans call  an  ornate  song  ein  melismatischer  Gesang.  (B)  The 
execution  of  a  series  of  sounds  to  one  syllable  and  in  one  breath. 

Melisme.  (Fr.  s.  m.  from  the  Greek.)   i.  e.  Melisma.   (q.  v.) 

Melismata.  (Fr.  s.  m.)  In  its  present  acceptation,  the  equivalent 
perhaps  of  the  Italian  Gorgheggio.   (q.  v.) 

Messa  di  Voce.  (It.)  A  term  current  in  Italy  describing  the  appli- 
cation of  a  crescendo  and  decrescendo  to  a  long  sustained  sound. 

Metter  la  Voce.  (It)  The  direction  to  observe  the  ^nessa  di  voce. 


Mezzo  Trillo.J 


—  152 


[Nebennoten. 


Mezzo  Trillo.   (It.  s.  m.  lit  a  half  shake.)  (A)  An  obsolete  ornament 
It  is  thus  rendered  by  P.  F.  Tosi.  (1650—1730.) 


(B)   The  Passing  Shake.   Vide  Sec.  Ill  par.  48. 
MiNUTi.    (It.  s.  m.  pi.  lit.  minutes  [of  time]).   Groups  or  runs  (virtually 
Divisions,  q.  v.)  intended  to  decorate  the  main  sounds  of  a  melody 
and  employed  alia  menle  by  the  executants  of  the  16^  and  17th 
centuries. 

MiSE  DE  Voix.   (Fr.)   i.  e.  messa  di  voce.   (q.  v.) 

MoNACHiNA.  (It.  s.  f.)  The  name  given  to  the  Mordent  by  the  writer 
referred  to  in  Groppolo.  (q.  v.)  The  term  refers  to  the  bird 
somewhat  vaguely  known  as  the  gnat-snapper.  It  is  curious  that 
the  strident  character  of  the  ornament  in  question  should  thus 
early  have  received  recognition.  Cf.  derivation  of  Mordent. 
Sec.  IV  par.  1. 

Mordant.   (Fr.  s.  m.)  i.  e.  Mordent. 

MoRDANTE.   (Fr.  s.  m.)   A  variant  of  mordant. 

Mordent.   Doppelter—  (Ger.)   Vide  Sec.  IV  par.  21. 

Mordent.   Double—   Vide  Sec.  IV  par.  21. 

Mordent.   Inverted—   Vide  Sec.  IV  par.  2. 

Mordent.   Langer—   (Ger.)   Vide  Sec.  IV  par.  21. 

Mordent.   Long—   Vide  Sec.  IV  par.  21. 

Mordent.   Lower—   Vide  Sec.  IV  par.  2. 

Mordent.  Upper—   Vide  Sec.  IV  par.  2. 

Mordente.   (It.  s.  m.)   Vide  Sec.  IV  par.  5. 

Nachschlag.  (Ger.  s.  m.  but  accepted  generally  as  a  technical  term.) 
The  modern  grace  of  the  name.  (Vide  Sec.  V.)  The  first  recorded 
recognition  of  the  Nachschlag  as  a  standard  ornament  occurs  in 
the  17th  century.  (Vide  Springer.)  In  the  18th  century,  the  signs 
A  and  V  represented  respectively  the  sound  above  and  below 
the  principal  sound.  It  is  important  to  observe  that  the  employ- 
ment of  the  name  Nachschlag  is  of  more  recent  date.  Ante- 
cedent to  its  adoption,  the  ornament  was  known  as  the  "passing 
appoggiatura".  (Durchgehender  Vorschkig.)   Vide  Sec.  V  par.  3. 

Nachschlag.  Double—  As  the  name  implies,^  two  sounds  in  place  of 
the  one  ordinarily  occupying  the  position  of  the  Nachschlao- 
Vide  Sec.  V  par.  11. 

Nachschleife.  (Ger.  s.  f.) '  That  form  of  the  termination  of  a  shake 
described  in  Sec.  Ill  par.  12. 

Nebennoten.  (Ger.  s.  f.  pi.)  The  auxiliary,  i.  e.  the  accessory  or 
secondary  sounds  of  a  grace.  Of  such  are  the  upper  and  lower 
sounds  of  the  Turn. 


Niedei  schlag.] 


[Pinc<^. 


NiEDERSciiLAG.    (Gcr.  s.  111.)    That  part  of  a  bar  upon  which  the 

strongest  sound  of  a  grace  falls,  (thesis.) 
NoTA  Anticipazione.   (It.)   Vide  Anticipation. 

NoTA  BuoNA.  (It.  lit.  good  note.)  i.  e.  the  accented  sound  (of  a  grace). 
NoTA  Cattiva.   (It.  lit.  wicked  note.)   In  a  figurative  sense,  the  weak 

or  unaccented  sound  (of  a  grace). 
Note  D'Agrement.   (Fr.)  A  grace  note. 
Note  D'Anticipation.   (Fr.)   Vide  Anticipation. 

NoTiNA.  (It.  s.  f.)  The  same  as  the  petite  note  of  the  French,   (q.  v.) 

Nuances.  (Fr.  s.  f.  pi.)  An  expressive  word  primarily  referring  to 
the  various  shades  of  colour  but,  in  reference  to  music,  describing 
those  indefinite  and  delicate  shades  of  tone-colour  and  aesthetic 
significance  at  the  command  of  the  cultured  executant.  No  better 
definition  of  the  figurative  use  of  the  word  can  be  conceived  than 
that  afforded  by  Pierre  Larousse.  (Dictionnaire.)  "Difference 
delicate  et  presque  insensible  entre  choses  du  meme  genre." 

Open  Graces.  A  17*^  century  term  introduced  to  differentiate  that 
type  of  grace  in  which  the  participating  sounds  were  separated 
by  definite  intervals  of  pitch  from  the  Close  Graces  (q.  v.)  which 
were  akin  to  the  Vibrato  or  Tremolo. 

Organisiren.  (Ger.  v.)  An  old  expression,  relating  to  the  process  of 
introducing  the  early  Divisions  (q.  v.)  into  music  for  the  Organ. 

Ornament.  A  grace.   General  term. 

Ornamenti.  (It.  s.  m.  pi.)  Musical  graces.   General  term. 

Ornements.   (Fr.  s.  m.  pi.)  Musical  graces.   General  term. 

Orner.  (Fr.  V.)  To  ornament,  i.  e.  to  introduce  musical  graces. 

Passing  Shake.   Vide  Sec.  Ill  par.  48. 

Pause.  Strictly  speaking,  not  a  musical  grace.  Nevertheless,  the 
application  of  the  messa  di  voce  (q.  v.)  to  a  sound  prolonged  by 
the  Pause  is  a  favourite  and  effective  means  of  embellishment. 
It  must  be  noted  that  the  Pause  was  included  in  Thomas  Mace's 
category  of  lute  graces.  (17*11  cent.)  This  probably  arose  from 
the  fact,  that  it  was  the  antithesis  of  the  Tutt  (q.  v.)  or  the  grace 
which  abbreviated  the  time-value  of  a  sound. 

Petit  Groups.  (Fr.  s.  m.)  A  rough  and  ready  rendering  of  the  It. 
gruppetto.   (q.  v.) 

Petite  Note.  (Ff .  s.  f.)  The  small  untimed  note  which  represents 
the  appoggiatura  or  acciaccatura. 

Petites  Notes.  (Fr.  s.  f .  pi.)  The  small  untimed  notes  which  repre- 
sent the  Turn,  etc.   Cf.  Sec.  II  par.  36.  Sec.  Ill  Ex.  55. 

Piccola  Nota.  (It.  s.  f.)  The  equivalent  of  the  Fr.  petite  note.  (q.  v.) 

PiNCE.  (Fr.  s.  m.)  A  word  virtually  conveying  the  same  meaning  as 
the  C^er.  Mordent.  The  pitch-arrangement  of  the  sounds  which 
form  the  ornament  appears  to  have  undergone  no  material 
change  during  the  centuries  which  have  elapsed  since  the  earliest 


Pinc6  Bemolis6.1 


—  154 


[Piiice  Renvers^. 


employment  of  the  pinc(^.  But  the  aesthetic  effect  accruing  to  the 
grace  has  varied  considerably  from  time  to  time.  Even  in  the 
days  of  J.  S.  Bach,  it  was  frequently  executed  in  a  leisurely 
manner.  (Vide  Sec.  IV  par.  13.)  This  particular  master,  however, 
took  the  precaution  of  indicating  the  ornament  under  such  con- 
ditions in  exact  notation.  The  method  of  indicating  the  pined  has 
also  varied  from  time  to  time.  Thus,  in  the  latter  part  of  the  17 
century,  we  find  the  symbols  ^,  /^v  and  f  or  T'-  The  latter 
sign  is  also  common  to  the  Battement  (q.  v.)  which  Rameau 
erroneously  calls  the  pined. 

PiNCE  Bemolise.  (Fr.)  An  old  term  expressing  the  lowering  of  the 
auxiliary  sound  of  the  pined  to  a  tone  below  the  principal  sound. 
Used  particularly  when  the  semitone  below  was  diatonic  in  the  key. 

PiNCE  CoNTiNU.  (Fr.)  An  old  term  which  described  a  prolonged 
Battement  (q.  v.)  or  inverted  shake.  To  be  strictly  differentiated 
from  the  Tr emblement  continu  (q.  v.)  in  which  the  auxiliary  sound 
was  above  the  principal  sound,  i.  e.  the  shake  proper. 

PiNCE  DiESE.  (Fr.)  An  old  term  expressing  the  raising  of  the 
auxiliary  sound  of  the  pined  to  a  semitone  below  the  principal 
sound.  Used  particularly  when  the  tone  below  was  diatonic  in 
the  prevailing  key. 

PiNCE  Double.   (Fr.)  The  double  or  long  Mordent,  (q.  v.) 

PiNCE  Etouffe.  (Fr.)  (A)  Virtually  a  short  appoggiatura  or  acciaccatura 
when  used  in  conjunction  with  a  chord.  The  term  — the  "stifled" 
mordent  —  refers  to  the  abbreviation  of  the  grace  by  the  non- 
occurrence of  the  first  sound  accruing  to  the  Mordent  proper, 
thus  — 


(B)  Originally  used  for  the  older  Acciaccatura.  (q.  v.) 
PiNc6  Lent.  (Fr.)  An  old  term  meaning  a  slow  Mordent;  a  dweUing 
upon  the  first  sound  of  the  grace  and  the  comparatively  slow 
execution  of  the  remaining  two.  In  our  time,  the  resultant  orna- 
ment would  more  accurately  be  described  as  a  Double  Nach- 
schlag.  The  following  example  is  from  Marpurg.  (1718—1795.) 

PiNCE  Lie.   (Fr.)   Vide  Liaison. 

PiNC^:  Renvers^:.  (Fr.)   i.  e.  the  Pralltriller  or  the  English  Upper 
Mordent.  Vide  Sec.  IV  par.  4. 


P'xuct  Simple.] 


fPort  de  Voix. 


PiNCE  Simple.  (Fr.)  i.  e.  the  Mordent  pi  oper  or  the  English  Lower 
Mordent   Vide  Sec.  IV  par.  4. 

PiNcfiMHiNT.   (Fr.  s.  m.)   A  17'^  century  synonym  of  Pinc6.   (q.  v.) 

Plain  Beat.  i.  e.  the  appoggiatura  approaching  the  principal  sound 
from  below.   (17 cent.)   Cf.  Shaked  Beat. 

Plain  Note  and  Shake.  (17^^  cent.)  The  combination  of  the  appoggia- 
tura and  upper  mordent.  The  following  example  is  from  Purcell. 
(1658—1695.) 


i 


¥- 


Plain  Shake.  (18^^  cent.)  A  shake  without  a  formal  termination  and 
indicated  by  tr-  in  contradistinction  to  the  sign  which  repre- 
sented the  Turned  Shake,   (q.  v.) 

Plica.  (Med.  Lat.  from  pltco=^  I  fold,  1  coil  up.)  The  sign  used  in 
neume  notation  for  the  sound-figure  which  is  supposed  to  have 
resembled  the  modern  Turn. 

Plique.   (Fr.  s.  f.)   i.  e.  the  Plica,   (q.  v.) 

Point  D'Arrest.  (0.  Fr.)  The  final  sound  of  a  shake.  Couperin's 
(1668—1733)  own  words  will  most  clearly  explain  the  point 
involved.  "Les  tremblements  d'un  valeur  un  peu  considerable, 
renferment  trois  objects,  qui  dans  I'execution  ne  parroissent  qu'une 
m^me  chose.  P  L'appuy  qui  se  doit  former  sur  la  note  au 
dessus  de  I'essentielle.    2®  Les  batements.   3^  Le  point  d'arrest. 

Tremblement.  2"  3" 


'-^  0  F  •  •  9^ 

F'ort  de  Voix.  (Fr.  s.  m.)  Until  the  early  part  of  the  18^^  century,  this 
ornament  was  practically  synonymous  with  the  early  appoggia- 
tura or  cheute.  (q.  v.)  The  first  indication  of  its  future  sig- 
nificance appears  when  it  supplants  the  cheute  en  montant.  (Vide 
cheute.)  Passing  through  many  phases  and  indicated  during  the 
and  18 til  centuries  by  one  or  other  of  the  following  signs 
V,  +,  X,  i,  V,  it  ultimately  assumed  its  modern  phase.  The  port 
de  voix  may  be  described  as  the  passage  of  the  voice  from  one 
sound  to  another  at  a  disjunct  interval  without  conveying  the 
effect  of  a  leap,  i.  e.  without  distinctly  articulating  any  intervening 
sound  but  appearing  to  pass  through  all  the  gradations  of  pitch 
within  the  range  of  the  interval.   It  is  thus  indicated  — 


The  term  port  de  voix  is  seldom  employed  in  connexion  with 
instrumental  music.  The  device,  however,  is  sometimes  employed 


Port  de  voix  coul6.| 


—    150  - 


[Prallender  Doppelschlag, 


by  the  violinist  and  a  delightful  example  of  its  application  to 
Pianoforte  music  may  be  observed  in  the  Allegretto  of  Bee- 
thoven's Sonata  Op.  14  No.  1  (No.  9),  bar  immediately  before  the 
Maggiore.  The  bar  obviously  contains  a  pedal  effect,  but  a  happy 
realization  of  the  nature,  of  the  port  de  voix  is  essential  to  its 
effective  performance. 
Port  de  Voix  Coule.  (Fr.)  An  early  century  term,  an  exact 
synonym  of  the  cheute  en  montant  (q.  v.),  i.  e.  an  appoggiatura 
from  below. 

Port  de  Voix  Double.  (Fr.)  The  combination  of  the  appoggiatura 
and  double  mordent.  (Early  18 century.)  The  following  example 
is  from  Couperin. 


f 


Port  de  Voix  Jet6.   (T'r.)   A  term  of  the  latter  part  of  the  18 ti^  cen- 
tury describing  the  prolongation  of  the  appoggiatura  in  the  pov) 
de  voix  simple  (q.  v.)  and  the  consequent  quickening  of  the  sound 
of  the  mordent  immediately  succeeding. 

Port  de  Voix  Pince.  (F)  The  combination  of  a  short  appoggiatura  anc 
mordent.   The  following  example  is  from  Marpurg  (1718—1795 


1 


Port  de  Voix  Simple.  (Fr.)  A  term  which  varied  from  the  orna- 
ment otherwise  known  as  the  port  de  voix  pinci^  (q.  v.)  (Earl}^ 
18'^  cent.  Fr.  writers)  to  the  simple  decoration  of  a  sound  by  an 
appoggiatura  or  nachschlag.  (Late  18 cent.  Ger.  writers.)  In  the 
former  case,  the  term  port  de  voix  simple  served  to  distinguish  the 
combination  of  the  appoggiatura  and  simple  mordent  from  that  of 
the  appoggiatura  and  double  mordent  or  th^ port  de  voix  double,  (q.v.) 

Portament.  (Ger.  s.  n.)  i.  e.  the  port  de  voix  of  the  French;  the 
portamento  of  the  Italians. 

Portamento.  (It.  s.  m.  from  portare  =  to  carry.)  Vide  port  de  voix. 

PoRTANDo  LA  VocE.  (It.)  Referring  to  the  execution  of  the  Porta- 
mento,  (q.  V.) 

PoRTARE  LA  VocE.   (It.)  To  observe  the  portamento,  (q.  v.) 

Porter  la  Voix.   (Fr.)   The  same  as  portare  la  voce.   (q.  v.) 

Prallender  Doppelschlag.  (Ger.)  The  combination  of  the  appoggia- 
tura, Pralltriller  and  turn.  Both  term  and  ornament  are  obso- 
lete. The  following  example  is  from  J.  C  F.  Bach.  (1732—1  95) 
Cf.  Sec.  VI  par.  11. 

1 


Pralltriller.] 


—    t57  — 


[RQ  kU\. 


Pralltriller.   (Ger.  s.  m.)   Vide  Sec.  IV  par.  3. 

PRErARED  Shake,    i.  e.  the  shake  prefaced  by  preliminary  sounds. 

Vide  Sec.  Ill  par.  8. 
Quadruple  Shake.   Four  concurrent  shakes. 

QuETSCHUNG.  (Gcr.  s.  f.)  i.  e.  a  crushing.  A  term  sometimes  employed 

for  the  Acciaccatura. 
QuiLiSMA.    (Med.  Lat.)    A  grace  indicated  in  neume  notation  and 

supposed  to  have  resembled  the  modern  shake. 
Rauscher.   (Ger.  s.  m.)   A  passage  ornamented  by  the  repetition  of 

the  various  sounds,  e.  g. 


Redouble.  (Fr.  s.  m.)  An  old  term  for  the  Turn.   Cf.  Bris^. 
Reflorimentl   (It.  s.  m.  pi.)  Arbitrary  embellishments  introduced  in 

the  act  of  performance. 
Retouche.  (Fr.  s.  f.)   The  addition  of  graces  to  a  melody. 
RiBATTUTA  OR  RiBATUTA.    (It.  s.  f.)    Originally  a  species  of  Division 

(q.  V.)  and  consisting  of  the  intermittent  repetition  of  the  main 

sound  and  auxiliary  one  degree  above,  e.  g. 


Afterwards  applied  to  a  development  of  the  same  ornament  in 
which  the  repetition  becomes  more  frequent  during  the  progress 
of  the  time-value  of  the  principal  sound.  The  following  example 
is  from  Leopold  Mozart's  "Grundliche  Violinschule." 


Rise.   A  synonym  of  Plain-Beat.   (q.  v.) 

RoLLE.  (Ger.  s.  f.)   (A)   An  old  synonym  of  Doppelschlag.  (q.  v.) 
(B)  A  sound-figure  after  the  manner  of  the  following. 


Roulade.   (Fr.  s.  f.)   An  embellishment  in  the  form  of  a  run. 
RouLEMENT.   (Fr.  s.  m.)  An  ornament  resembling  the  shake  executed 

on  the  drum,  i.  e.  the  drum-roll. 
RtjcKFALL.  (Ger.  s.  m.)  The  Nachschlag  expressed  after  the  manner 
of  the  appoggiatura,  e.  g.  


-0 — 


RQckschlair.l 


-     T58  - 


(Shake. 


ROcKscHLAG.    (Ger.  s.  m.)    The  Kibattuta.   (q.  v.)    Cf.  Zuriickschlag. 

Run.   The  EngHsh  rendering  of  roulade,   (q.  v.) 

Sanglot.  (Fr.  s.  m.  lit.  a  sob,  sobbing.)  An  old  term  for  an  embelhsh- 
ment  used  by  singers.  The  Sanglot  appeared  variously  in  the 
form  of  an  anticipation,  nachschlag  or  port  de  voix.  It  usually 
occurred  upon  an  interjection  and,  as  implied  by  the  name,  en- 
joined extreme  pathos  upon  the  singer.  A  small  untimed  note  as 
a  rule  denoted  the  Sanglot. 


— 

^\ 

0 

 1 

-  rj 

ScHLEiFER.   (Ger.  s.  m.)   Vide  Sec.  IV  par.  22. 

ScHLEUFER,   Old  German  for  Schleifer.   (q.  v.) 

ScHNELLER.   (Ger.  s.  m.)   A  s3monym  of  Pralltriller.   (q.  v.) 

ScHXELZER.   (Ger.)   An  old  form  of  the  word  Schneller.   (q.  v.) 

ScHWARMER.  (Ger.  s.  m.)  (A)  A  synonym  of  Rauscher.  (q.  v.)  (B) 
An  old  term  for  the  repetition  cf  a  sound.  (Tremolo.) 

Sdrucciolare.  (It.  V.  =  to  slide.)  Sometimes  used  to  indicate  the 
"Glissando."    (q.  v.) 

Semitremulo.  (Med.  Lat.)  A  term  indicating  the  Mordent,  used  in 
the  early  part  of  the  century. 

Separation.  An  18 century  term  expressing  the  separation  of  the 
last  sound  of  a  grace  from  the  following  sound,  thereby  pro- 
ducing an  effect  not  unlike  that  accrtiing  to  the  modern  two-note 
slur.  The  solutions  of  the  following  examples  from  Geminiani 
(1680—1762)  are  by  Dannreuther  —  "xMusical  Ornamentation". 

Shake.  Always  the  most  briUiant  and  popular  of  musical  graces. 
The  signs  that  have  been  used  to  indicate  the  shake  are  of  the 
most  varied  description.  Those  employed  in  the  18^  century  and 
afterwards  are  described  and  exemplified  in  Sec.  Ill;  those  of 
the  17th  century  varied  from  the  single  letter  t,  through  the 
somewhat  indefinite  signs  V  and -f)  to  the  waved  line  ^  in 
the  latter  of  which  we  discern  the  parent  of  the  later  indication. 

Shake.  Descending—  An  18 century  term  describing  a  shake  which, 
by  lowering  the  under  sound  in  the  course  of  the  time-allowance 
of  the  ornament,  descended  diatonically  or  chromaticall}^  down 
the  scale.  This  is  the  parent  of  the  descending  form  of  the  so- 
called  Chain  of  Shakes,   (q.  v.)   Vide  Sec.  Ill  par.  57. 


Shake.] 


[Shaked  Cadent. 


Shake.   False—   Vide  Sec.  Ill  par.  60. 

Shake  Major.'  An  18th  century  term  for  the  shake  whose  auxiliary 
sound  was  a  tone  removed  from  the  principal  sound. 

Shake  Minor.  An  IS^h  century  term  for  the  shake  whose  auxiliary 
sound  was  a  semitone  removed  from  the  principal  sound. 

Shake.   Passing—   Vide  Sec.  Ill  par.  48. 

Shake.  Redoubled—  An  18 century  ornament.  It  appears  to  have 
been  one  of  the  many  species  of  the  shake  left  to  the  discretion 
of  the  executant  and  was,  therefore,  not  specially  indicated.  The 
grace  consisted  of  several  intermittent  shake-beats  all  having  the 
same  principal  sound,  between  which  were  inserted,  at  periodic 
intervals,  certain  auxiliary  sounds  in  conjunct  relationship.  The 
device  is  not  unknown  in  modern  vocal  music,  but  it  is  unneces- 
sary to  add,  is  always  expressed  in  exact  notation.  The  following 
example  is  from  P.  F.  Tosi.  (1650-1730.) 

Shake.  Rising—  The  converse  of  the  Descending  Shake  (q.  v.)  and 
therefore  the  parent  of  the  ascending  form  of  the  Chain  of 
Shakes,   (q.  v.) 

Shake.   Short—  i.  e.  the  Mezzo-Trillo.   (q.  v.) 

Shake.  Slow—  An  18'^  century  term.  Virtually  the  application  of 
the  Ribaltuta  (q.  v.)  to  the  shake.  The  latter  commenced  with 
slow  beats  and  was  gradually  accelerated.  The  Slow  Shake 
however  differed  from  the  Ribattuta  in  that  the  beats  were 
approximately  regular  from  the  commencement  of  the  ornament 
to  the  end. 

Shaked  Backfall.  (17^1^  cent.)  Differentiated  from  the  Smooth  Back- 
fall (vide  Backfall  and  Smooth  Graces)  by  the  fact  that  the 
appoggiatura  was  replaced  by  a  shake.  The  following  example 
is  from  Christopher  Simpson.   (17 cent.) 


a-^-m  

Shaked  Beat.  The  converse  of  the  Shaked  Backfall  (q.  v.)  and  thus 
expressed  by  Simpson. 

Shaked  Cadent.  Differed  from  the  Smooth  Cadent  (q.  v.)  in  that  a 
shake  occurred  upon  the  sound  immediately  before  the  nachschlj^fr 
or  anticipation.   This  shake  contained  a  preparation  and  may  be 


Shaked  Double  Relish.] 


—     i6o  — 


[Superior  Appoggiatura 


compared  with  Sec.  Ill  par.  8.  Simpson  thus  expresses  the 
Shaked  Cadent. 

Shaked  Double  Relish.   Vide  Double  Rehsh. 
Shaked  Elevation.   Vide  Elevation. 

Shaked  Graces.  The  17 century  division  of  graces  into  two  species 
—  Smooth  and  Shaked  —  has  come  down  to  us  through  the  violist 
Sympson  or  Simpson.  The  smooth  grace  was  that  in  which  the 
passage  from  sound  to  sound  was  effected  by  melting,  as  it  were, 
the  one  into  the  other,  i.  e.  somewhat  after  the  manner  of  the  por- 
tamento of  the  voice.  This  method  of  execution  would  obviously 
only  be  practicable  upon  stringed  instruments.  The  shaked 
grace  was  virtually  the  embellishment  of  the  smooth  grace  by 
the  elimination  of  the  special  method  of  execution  pertaining  to 
the  latter  and  the  addition  of  a  shake,  e.  g.  Cf.  Beat  (A)  with 
Shaked  Beat. 

Single  Relish.  A  little-used  term  but  practically  denoting  (17  th  cent.) 

a  species  of  passing  shake. 
SiNGMANiER.   (Ger.  s.  f.)   A  vocal  grace.   Vide  Manier. 
Slide.   Vide  Sec.  IV  par.  22. 

Sliding  Relish.  A  rarely  used  17 th  century  term  for  the  same  grace 
as  the  modern  Slide,  expressed  thus  — 


Slur.  The  old  term  for  the  Slide  and  indicated  in  the  manner  de- 
scribed in  Sec.  IV  par.  24. 
Smooth  Graces.  Vide  Shaked  Graces. 

Son  Coupe.  (Fr.)  The  abbreviation  of  the  time-value  of  a  sound  after 
the  manner  of  the  modern  mezzo-staccato.  Classed  as  an  orna- 
ment by  Rameau  (1683—1764).  It  was  indicated  by  a  point  ]  or  dash  | 
placed  above  the  note  effected. 

Spielmanier.  (Ger.  s.  f.)  An  instrumental  grace.  Cf.  Manier  and  Sing- 
manier. 

Springer.   A  Nachschlag  of  the  17 century  and  thus  indicated  — 

Sting.  A  term  used  by  lutenists  to  describe  the  Tremulo  or  Vibrato. 

Indicated  by  the  sign  aw  or  /^yv. 
Superior  Appoggiatura.    i.e.  aa  appoggiatura  one  degree  above 

the  principal  sound.   (Early  18*^  cent.)  Cf.  Inferior  Appoggiatura. 


Superior  Cadence.] 


~    i6i  — 


[Trembletnent  aspir6. 


Superior  Cadence.  The  upper  cadence  (shake)  when  two  were 
executed  simultaneously.   (18^^  cent.)   Cf.  Inferior  Cadence. 

Suspension.  (Fr.  s.  f.)  The  converse  of  the  son  caup^  (q.  v.),  that  part 
•of  the  sound  abbreviated  being  the  first.  It  was  thus  indicated  and 
performed. 

Terminazione.   (It.  s.  f.)   The  final  turn  of  the  shake.  (Nachschla^.) 
Tierce  Coulee.   (Fr.  s.  f.)   i.  e.  the  Slide  comprising  three  sounds. 
Tierce  Coulee  En  Descendant.  (Fr.)  The  downward  Slide  of  3  sounds, 
thus  — 


Tierce  Coulee  En  Montant.  (Fr.)  The  upward  Slide  of  3  sounds, 
thus  — 

Tirade.  (Fr.  s.  f.)  The  Tirata.   (q.  v.) 

Tirata.  (It.  s.  f.)  An  ornamental  scale -passage  leading  from  one 
sound  to  another  at  the  distance  of  an  octave  or  less.  In  early- 
days,  the  Tirata  was  introduced  by  the  executant  alia  mente  and 
was  not  specially  indicated.  In  later  days,  the  leading  sounds  of 
the  passage  to  be  embellished  were  given.  (Vide  "Viohnschule" 
Leopold  Mozart.)  Since  the  days  of  Mozart,  however,  the  Tirata 
has  been  invariably  indicated  in  full. 

Tirata  Piccola.   (It.).   An  IS'^^  century  term  for  the  SHde. 

Tours  de  Force.  (Fr.)  The  execution  of  roulades,  ornaments,  after 
the  manner  of  divisions  and  other  briUiant  embellishments. 

Trait.  (Fr.  s.  m.)  The  execution  of  a  single  succession  of  sounds 
(roulade,  tirade,  etc.)  in  one  breath  or  with  one  stroke  of  the  bow. 

Transient  Shake,  i.  e.  a  Passing  shake.   Vide  Sec.  Ill  par.  48. 

Tremblement.  (Fr.  s.  m.)  As  a  lute  grace ,  similar  to  the  pined  ren- 
versd;  otherwise  a  synonym  of  trille  (shake). 

Tremblement  Appuye.  (Fr.)  A  dwelling  upon  the  first  sound 
(auxiliary)  of  a  shake,  i.  e.  a  combination  of  the  appoggiatura 
and  shake.  Indicated  (17 cent.)  by  the  sign  or  (18'^  cent.) 
by  the  sign  IavO  (Cf .  Sec.  Ill  par.  12)  or  Iaw  cns  when  a  formal 
termination  was  required  for  the  shake. 

Tremblement  Aspire.  (Fr.)  (Co up er in.)  A  shake  cut  short  by  the 
interposition  of  a  rest. 

Ernest  Fowles,  Studies  in  Musical  Graces.  II 


Trcmblement  conthiu.] 


—  162   


[Triller. 


Tremblement  Continu.  (Fr.)  A  continuous  shake.  Not  to  be  con- 
fused with  the  pinc^  continu.  (q.  v.) 

Tremblement  CouLE.  (Fr.)  An  18  tii  century  term  for  the  shake  with 
preparatory  sounds,  e.  g.  tremblement  coul^  en  descendant  (Sec.  Ill 
par.  10);  tremblement  couU  en  montant  (Sec.  Ill  par.  8). 

Tremblement  Detache.  (Fr.)  (Couperin.)  A  direction  so  to  perform 
a  shake  that  it  does  not  lead  to  the  following  sound.  In  this  type 
of  shake,  the  last  sound  of  the  ornament  frequently  occurred  in 
the  time -position  of  the  written  note.  The  shake  was  therefore 
executed  before  the  latter. 

Tremblement  Double.  (Fr.)  An  18*^  century  term  not  referring  to 
the  length  of  the  shake  but  to  the  fact,  that  it  finished  with  a  turn 
and  therefore  comprised  two  ornaments. 

Tremblement  Ferme.  (Fr.)  (Couperin.)  A  shake  with  a  closing  turn, 
the  principal  sound  of  which  w^as  followed  by  a  sound  one  degree 
below.   Ex.  12,  Sec.  Ill  is  a  tremblement  fermd. 

Tremblement  Lie.  (Fr.)  A  shake,  the  first  or  auxiliary  sound  of 
which  was  tied  to  the  previous  sound.  The  shake  therefore  com- 
menced upon  the  principal  sound. 

Tremblement  Ouvert.  (Fr.)  A  shake  with  a  closing  turn,  the  prin- 
cipal sound  of  which  was  followed  by  a  sound  one  degree  above. 
Ex.  13,  Sec.  Ill  is  a  tremblement  ouvert. 

Tremblement  Pince.  (Fr.)  The  word  pinc^  virtually  describes  the 
closing  turn  of  a  shake  and  is  here  the  equivalent  of  Nachschlag. 
Vide  Sec.  V  par.  10. 

Tremblement  Prepare.  (Fr.)  The  same  as  tremblement  appuy^.  (q.  v.) 

Tremblement  Slmple.  (Fr.)  A  shake  without  sounds  of  preparation 
or  of  termination. 

Tremblement  Subit.  (Fr.)  A  Xl^"^  century  term  indicating  the  perfor- 
mance of  a  shake  ex  abrupto,  usually  approached  by  a  disjunct 
interval. 

Tremolo.  (It.  s.  m.)  A  term  which  originated  in  the  shake.  Hence 
Tremblement.  (q.  v.)  This  meaning  of  the  word  was  still  in 
evidence  early  in  the  18^^  century,  but  it  appears  to  have  passed 
to  the  German  Bebung  (Fr.  balancement.)  also.  It  is  now  used 
in  an  altogether  different  and  somewhat  lax  sense.  The  rapid 
repetition  of  a  sound  upon  any  instrument,  the  alternate  repeti- 
tion of  different  positions  ot  me  same  chord,  etc.;  to  all  such 
devices,  the  name  Tremolo  is  given. 

Tremoletto.   (It.  s.  m.)   A  short  shake.   (Mezzo-Trillo.  q.  v.) 

Tremula.  (Med.  Lat.)  A  term  describing  a  sign  used  in  neume  nota- 
tion which  is  supposed  to  have  been  the  forerunner  of  the  Bebung. 

Trill.   (A)  The  Shake.   (B)  [v.]  To  shake. 

Trille.   (Fr.  s.  m.)   The  shake.   Vide  Sec.  Ill  par.  1. 

Triller.   (Ger.  s.  m.)   The  shake.   Vide  Sec.  Ill  par  1. 


Triller.) 


-     163  - 


[Unterschlag. 


Triller.  Unterbrochener—   A  broken  or  intermittent  shake. 
Triller  von  Oben.   (Ger.)   The  shake  with  preparation  from  above. 

Vide  Ex.  10,  Sec.  III. 
Triller  von  Unten.   (Ger.)   The  shake  with  preparation  from  below. 

Vide  Ex.  8,  Sec.  111. 
Trillfrkette.   (Ger.  s.  f.)   Chain  of  Shakes.   Vide  Sec.  Ill  par.  56. 
Trillo.   (It.  s.  m.)   The  shake.   Vide  Sec.  Ill  par.  1.   It  is  curious  to 

note,  that  the  original  meaning  of  the  words  Irillo  and  tremolo 

was  exactly  the  converse  of  that  ultimately  belonging  to  them. 

The  tremolo  of  the  early  17*^  century,  was  the  shake;  the  tr.llo^ 

the  tremolo  or  Bebung. 
Trillo  Caprino.   (It.)   i.  e.  the  Bockstriller.   (q.  v.) 
Trillo  del  Diavolo.   (It.)  The  name  given  to  a  series  of  shakes  in 

his  Violin  Sonata  in  G  Minor  by  Tartini.  (1692-1770.) 
Trillo  Mordente.   (It.)   An  18 century  term  applied  to  the  shake  ' 

with  a  closing  turn.   Cf.  tremhlement  pinc^. 
Triple  Shake.  Three  simultaneous  shakes.  Vide  Beethoven's  Sonata 

in  C  Op.  2  No.  3,  last  mov.  21  bars  from  end. 
Turn.   The  well-known  grace  of  the  name.   Vide  Sec.  II. 
Turn'd  Shake.   An  old  term  referring  to  the  closing  turn  of  a  shake. 

Purcell  indicates  it  thus  — 


In  the  next  century,  the  following  sign  is  used  thus  approxi- 
mating to  the  sign  ultimately  adopted  by  J.  S.  Bach.  Vide  Sec.  Ill 
par.  12.  dementi's  Symbols  for  the  Turned  Shake  are  four  in 
number,  viz. 

TuTT.  A  lute-grace  akin  to  the  French  suspension  (q.  v.)  but  different 
from  the  latter  in  that  the  last  part  of  the  sound  was  abbreviated. 
As  a  lute-grace,  it  is  the  antithesis  of  the  Pause,   (q.  v.) 

iUMGEKEHRTE  RoLLE.  (Gcr.  s,  f.)  i.  6.  the  inverted  turn  (Cf.  Rolle)  and 
thus  expressed  by  Tiirk  (18*1^  cent.)  (N.  B.  The  little  untimed  note 
in  the  example  directs  that  the  turn  should  start  upon  the  main 
sound.   Cf.  Sec.  Ill  par.  29.) 


Unisson.  (Fr.  s.  m.)  This  is  not  a  grace  but  is  included  in  Couperin's 
somewhat  heterogeneous  list  of  such.  It  merely  referred  to  the 
fact  that  two  sounds  of  the  same  pitch  required  the  same  key  of 
the  clavecin  and  was  indicated  by  the  vertical  stroke  . 

Umterschlag.   (Ger.  s.  m.)   A  synonym  of  Ruckfall.   (q.  v.) 


1 1 


Upper  Mordent.] 


[Zwischenschlag 


Upper  Mokdent.   Vide  Sec.  IV  par.  2. 

Verke  Casse.   (Fr.)   The  tremolo  and  trillo  (q.  v.)   of  the  Lute. 
Verziert.  (Ger.  from  versieren=io  embeUish,  to  ornament)  Ornamented, 
embellished. 

Verzierung.   (Ger.  s.  f.  pi.  —  en.)  A  musical  grace.   General  term. 

Vibrato.  (It.  s.  m.)  (A)  A  term  apparentl}-  limited  to  all  those  graces 
in  which  the  repetition  of  the  same  sound  was  the  main  feature. 
The  Close  Shake  of  Simpson  (q.  v.)  and  the  Bebung  of  the  time 
of  J.  S.  Bach  are  pertinent  examples  of  the  Vibrato.  (B)  A  tremu- 
lous action  of  the  voice  much  effected  by  singers. 

VoLATA.  (It.  s.  f.)  A  light  passage  sung  to  one  breath  or  to  one 
S3ilable. 

VoLATE.   (Fr.  s.  f.)   i.  e.  Volata.   (q.  v.) 

VoLATiNA.  (It.  s.  f.)  A  short  passage  after  the  manner  of  the  Volata. 
(q.  V.) 

VoLATixE.   (Fr.  s.  f.)   i.  e.  Volatina.   (q.  v.) 

Vorausnahme.   (Ger.  s.  f.)   i.  e.  Anticipation,   (q.  v.) 

Vorhalt.   (Ger.  s.  m.)   Literally,  a  suspension,  but  occasionally  used 

for  the  Vorschlag. 
Vorschlag.   (Ger.  s.  m.)   The  appoggiatura.    Vide  Sec.  I  par.  1. 
VoRscHLEiFE.   (Ger.  s.  f.)   The  preliminary  sounds  of  a  shake.  Vide 

Ex.  8,  Sec.  III. 

Whole -FALL.   The  term  applied  by  lutenists  to  the  upward  Slide  of 

three  sounds.   It  was  indicated  by  the  cross  +• 
WiEDERSCHLAG.   (Ger.  s.  m.)   The  Ribattuta.   (q.  v.) 
ZiERAT.   (Ger.  s.  m.)   An  ornament  or  erabeUishment. 
ZiEREN.   (Ger.  V.)   To  embellish,  to  ornament. 

Zlmbelo.   (It.  s.  m.)   The  name  given  by  the  writer  referred  to  in 

Groppolo  to  a  modified  form  of  the  Ribattuta. 
ZuRtlcKSCHLAG.  (Ger.  s.  m.)  The  Ribattuta.  (q.  v.) 
Zusammenschlag.  (Ger.  s.  m.)   i.  e.  the  pitied  itoiiffi  or  acciaccatura. 

(q.  V.) 

Z  WIS  CHENS  CHL  AG.  (Ger.  s.  m.)   An  old  name  for  the  Nachschlag. 


I 


I 


